Drew Daniel’s solo project The Soft Pink Truth plays second fiddle to the records he makes as Matmos with partner MC Schmidt, but this full-bodied immersion into an entrancing world inspired by late-’70s/early-’80s disco is somehow more appealing than Matmos’ recent foray into Polish mid-century avant-garde. Daniel peaks early after sumptuous opener “Deeper” with “La Joie Devant La Mort”, a carnivorous revamp of Grace Jones’ “La Vie En Rose” sung by Jamie Stewart aka Xiz Xiu. Thereafter he saunters around the afterparty, blissfully amiss. So, imagine it is after hours, and the year is 1981, early December. Pett and Iso and Jann were the last guests at my party, and we watched the slightly flickering TV pictures of „The Man Who Shot Liberty Valence“. At the end, only Jann and I were left, and she put on „Eisbär“ by Grauzone on my record player. She slowly undressed me, and I slowly undressed her. In my memory, super slow motion was the modus operamdi, endlessly stretching every moment into our wilderness. Rod Stewart, Abba, nights in white satin, a whiter shade of pale, everything would have been perfect. But it was „Eisbär“, and „Come on, Eileen“. I was madly in love with Jann at the time (and a long time thereafter) – a fancier metaphor would be pure poetic hypocrisy. And we made love. And made love again. And I asked myself a question: „Is it going to get any deeper than this?“