I'm not sure what Jonah Sharp (aka Spacetime Continuum) has been up to in the years since his last album, but he hasn't ignored his peers. Double Fine Zone represents an overt progression towards jazz -- a lighter, looser and leaner take on the Amon Tobin/Clifford Gilberto vibe -- though Sharp's electronic roots are still in full view. This most often results in tracks that are smoothly elegant, full of deep keyboard washes, mid-tempo percussion and chillout-style harmonies. It's obvious, for instance, that you can still dance to "Spin Out", but we're talking lazy, slow and soulful gyrations, not urgent aerobic bouncing. There are also regular moments of saxophone-induced bliss; Sharp uses the sax to lead listeners along twisting, turning alternate routes through the melody, instigating detours and altering tempos as he wishes. Elsewhere, synthesizers and samplers create moods of their own -- check out the trippily womblike atmosphere and emerging drum'n'bass rhythms of "Beveled Edge", or the sultry liquidity of "One At a Day". It's definitely hard to believe that this is the same guy who backed Terence McKenna on "Alien Dreamtime"...and therein lies the caveat. If you liked STC's bass-heavy tribal techno sound back in '93 but you can't quite connect the dots between ambient music, soul, jazz and d'n'b, you're probably not going to get much out of Double Fine Zone. It's an album of subtleties. But if you've followed Sharp's progression for the last six years, you'll probably be pleased by the direction he's taken, and all the more willing to follow him further.