Creative Wax CW107 
Ashley Brown (aka DJ Pulse, owner of Creative Wax and 1/3 of the hardcore act Dance Conspiracy alongside Adrian Shortman and James Hoyte) and Jamie Giltrap (aka Tango), both regular artists of the Creative Wax collective, joined forces in 1995 for the one-off project The Committee.
The duo reunited after the label’s hibernation, forming the second incarnation of Initial Research focusing on breakbeat projects (the members of the first incarnation have been DJ Pulse and Justice).
Tango’s remix of Final Conflict is also referred to as We Are At War ’95, a direct reference to Sister Souljah’s proclamation (the vocal sample appears in her second personal single entitled The Final Solution: Slavery’s Back In Effect released in 1991 and was the tagline of her famous speech at Cheyney State University in Pennsylvania in 1994).
The track is dominated by the desolate saxophone riff sampled from the song Darkest Light by the funk/soul group Lafayette Afro Rock Band. This particular sample had been heavily used before by several artists, including the likes of Public Enemy (for the track Show ‘Em Whatcha Got featuring in their album It Takes A Nation Of Millions To Hold Us Back, 1988), Dance Conspiracy (for the seminal hardcore anthem Dub War, XL Recordings/Metamorphosis, 1992), Badman (aka Marvellous Cain), James Hoyte (aka Sponge and founder of IQ Records) and Tango himself for various versions of the track War for ’94 released on IQ Records.
Adrian Shortman (aka Professor Stretch) has been credited on the info side of the record for his contribution to Dub War; however both Final Conflict and Profound Love (on the flipside) have been written and produced by Pulse & Tango.
The additional eerie, female vocal snippets are sampled from the techno track (Yeah You!, Occasions mix, WARP Records, 1991) by The Step with Sarah Jay on vocal duties. Haunting strings accompany the sax riff until the introduction of the “We are at war!” vocal hook, followed by a cascade of trademark Tango amen edits and a deep sub-bass underpinning the bass line.
Frequently overlooked, due to the plethora of classics in Creative Wax’s back catalogue, the particular release is a fine bridge between the label’s earlier outputs and the ones that followed, until the suspension of the label’s activities in 1998.