Well, here’s one disc that’ll likely set The Category Police to working overtime - the "jazz camp" will say (due to its use of electronics and overt lack of bebop content, not to mention the band’s name) it belongs in the "rock" section of your Local Music Retailer and the "rock camp" will say it belongs in the jazz section (very improvisational, no big guitar chords, no verse/chorus/verse structure, or words at all, even). The closest E-Z-2-ID realms that one can put Ghetto Love Sugar close to at all is that of the New Breed of Jam Bands, those rock outfits that put a heavy emphasis of jazz-oriented improvisation, such as Gov’t Mule, or the dub-meets-fusion stylings of Tortoise. Mostly, GLS remind This Writer of the Charles Earland-meets-Embryo jammin’-grooveworks of the fine SF Bay Area ensemble Mushroom. Whatever handle you tag them with, there's no mistaking the facts: GLS cook up a musical stew that combines jazz chops with dense, shifting, layered textures and grooves, taking their cues from Miles Davis’ "dark groove" period (circa Agharta/Dark Magus) and post-Miles, pre-Headhunter Herbie Hancock (Sextant), the spacey Kraut rock of Harmonia and Faust, and the sleek, pulsing ethno-groove of Jon Hassell, Robert Rich and Trance Mission. But make no mistake: GTS are no mere copycats or masters of pastiche - they chop their ingredients real fine and let them simmer in a rich broth of their own spicing until it all comes out according to their own recipe. So, if you’ve enjoyed the chow served by the above-named bistros, order yourself this helping o’ Ghetto Love Sugar’s Uncertainty Principle.