The feverish gargle in the first half of the song also works within the context of the album by detonating the ambivalence established in the opening track. The hard-breaking “Warning Shots” is unusually aggressive for the two, but its knocking drums, punchy guitar accents, and Tech9 loop back Sleepy Wonder’s underwater toasting with necessary heat. Similar to how the Corporation molds a track around Coyne’s recent maturation to slick-psych, the production throughout the album is tailored around the guests. However, the Corporation sticks to its tried and true moves, and bathes Coyne’s critique in such cozy warmth that the assault feels more like a well-oiled Trojan Horse. Given the current political rhetoric, the schism in social discourse, and the group’s base in Washington, D.C., the tension is more appropriate than out-of-place. The peaceful backing provides a counterpoint to the confrontational title and upfront lyrics: “Let’s start by, making it clear / Who is the enemy here / And we’ll show them / That it’s not them / Who is superior.” The song’s chorus continues on to dream an abstract Armageddon for the negative ones, a bold statement from a group associated more with chill-outs and sessions. Like Yoshimi sipping Virgin Suicides, the Corporation crafts hollow atmospheres, lonely guitar leads, and twinkling keyboards. “Marching the Hate Machines (Into the Sun)” opens the album with a notable appearance from an Air-headed Wayne Coyne. The Cosmic Game unfolds in a steady and consistent manner, much like a mixtape segmented neatly by mood and theme. Each contribution blends neatly together, and creates a cohesive whole. Similar to how recent celeb-fest Handsome Boy Modeling School wrapped odd orgies in the loveage of Paul and Dan, the Corporation weaves each artist into its recognizable patchwork. While the Flaming Lips, South Asian superstar Gunjan, and David Byrne anticipate a meeting of major minds, the results are admittedly subdued and subtle. The Corporation, the duo of Rob Garza and Eric Hilton, draws up an eclectic guest list and merges it into a characteristic chill-out collage. For Thievery Corporation’s fourth full-length of original material, the group turns increasingly to the aid of some handsome strangers to distill their prime influences of African diaspora music into a modern beat dub. What makes a great collaboration? At its worst, the collabo is a marketing tool and predictable, at its best, a creative detour and a catalyst for inspiration.
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