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The M/F Thread 2009: The Quickening

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gospel:
Hymie's Basement, Robbie Fulks, and Detritus are all excellent.

KvP:
More things.



Falty DL - Human Meadow Remixes 12" + Burnkane - You Know 12"
Some Planet Mu 12" I got. Dubstep. Human Meadow remixed by U-Ziq, Luke Vibert and Boxcutter. You Know is a single.

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Enon - Grass Geysers Carbon Clouds

--- Quote from: Pitchfork ---Seven years into Enon's career, fans should know to expect the unexpected-- which is, in this case, the completely expectable. Let me rephrase: While they've never shied from frothy pop or big guitars-- and done pretty well with both as of High Society and onward-- Enon have come at it from their own direction, trailing their samplers and Moogs in an unbalanced camper just behind the hooks. There's plenty of unexpected and strange sounds on Grass Geysers... Carbon Clouds, but they're far less obvious or apparent, tucked away behind big-rock choruses and spotlight-ready vocal turns. After a four-year gap between records, there's no "alternate-universe" wishing about the songs on Grass Geysers...; they seem radio- and arena-ready, and that's probably where they'd sound best.

By now, Enon deserve any larger audience they get. But the career yardstick becomes harder to avoid when Touch and Go reissues their first album, Believo!, the same day this comes out. While still pretty indebted to the mechanical grind and falsetto of grind and falsetto of Schmersal's former band Brainiac, Believo! boasts gloriously weird and unexpectedly pop moments such as "Come Into" and "Conjugate the Verbs". More than that, though, it felt more inward and somehow private. Hearing songs like the genre- and gender-bending "Cruel" was like peeking into a someone's bedroom keyhole and seeing something you shouldn't have.

Grass Geysers... Carbon Clouds is just the opposite. If the new record has an antecedent, it's High Society, though it's without that record's huge hits or peaks and valleys; this one's more the steady simmering aftermath of High Society's initial blast. Grass Geysers is still full of sleek pop, but with more concentration on textures or accents: The pervasive handclaps of "Mirror on You", the interlude of chirping birds on the otherwise lean "Colette". They've done a such a fine job streamlining, you might not even notice the low electric gurgle of bass on "Dr. Freeze" or the woozy robot growl of "Law of Johnny Dolittle" beneath the song's slinky backbeat and descending vocal line.

The album's centerpieces, and most straightforward rockers, are "Pigeneration" and "Mr. Ratatatatat". The former opens with a drumbeat reminiscent of "Sunday Bloody Sunday" before Yasuda coos a few words over Schmersal's glistening, echoing chords and Yasuda's roof-reaching vocal, while the latter is a tag-team between Yasuda and Schmersal that moves from dissonant guitar crunch to big-rock bluster.

Still, it might be the record's final third that's the most rewarding-- even if it doesn't contain any out-and-out crowd-pleasers. "Paperweights" marries stormy percussion to B-movie keyboards that never repeat the same tone twice. The scratchy drum loop that opens "Labyrinth" grabs just as much attention as the jagged scrape of guitar strings, and "Ashish" has Yasuda pleading over a dub-like throb and minimal atmosphere of early Cure records. Even with the more straightforward tracks before it, it says something that Grass Geysers... still seems like a seamless record throughout.

Leaner and more direct than its predecessor, Hocus Pocus, few fans will be disappointed with Grass Geysers... Carbon Clouds. Four years between records is a relatively long time, however, and to return to business as usual seems, somehow, unusual for a band who have never done things in a very orthodox manner. A little less quirky and little more eager to please than they once were, Enon are looking beyond being a small cult's favorite band; instead, they've simply made a damn solid rock record.

— Jason Crock, October 15, 2007
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Enon - Lost Marbles and Exploded Evidence

--- Quote from: Allmusic ---With a track listing that spans six years and several different band lineups, Enon's singles, B-sides, and rare tracks collection Lost Marbles and Exploded Evidence could have been too scattered for its own good, but it's actually one of the band's most enjoyable releases. There's something endearing about the twists and turns the band take as their music evolves from Believo!'s post-Brainiac spazz pop into the more stylish (but just as quirky) sounds of High Society and Hocus Pocus (the comp's liner notes give a playful nod to this evolution, marking the earliest tracks with eggs and tadpoles and the later songs with full-grown frogs). The try-anything approach on the whole collection -- even the tracks that don't entirely work -- holds it together and keeps it from sounding too exploded, despite the fact that the album gathers songs as disparate as "Marbles Explode," a skronky, Believo!-era artifact, and "Raisin Heart," a delicate, almost loungey track from a 2001 7". Some of the best tracks were "Songs of the Month" on the band's website: "Knock That Door" is quasi-Shibuya-kei that's as charming as anything by Takako Minekawa or Kahimi Karie, while "Adalania (Not So Fair)" is a piece of chamber synth pop that's kissing cousins with High Society's title track. These songs, along with the space invaders duet "The Nightmare of Atomic Men," "Tilt You Up!," and the gorgeous, bittersweet "Kanon," are as good as Enon's proper album tracks. Short bursts of sonic mischief like "Below Infinite Ways" and "Making Merry! Merry!" fill out the album, adding to its sugar-buzz-like rush. Given that it's an odds-n-sods collection, there are a few "off" tracks and a slightly random feel overall, but Lost Marbles and Exploded Evidence revels in its eclectic eccentricities and ends up being all the better for it. The first edition of the comp comes with a bonus DVD that includes the most complete collection of Enon's videos to date, as well as live performances from the Believo! and Hocus Pocus tours and candid footage of the band. The videos are the real draw, celebrating the band's eye-popping visual flair with clips like "Daughter in the House of Fools," which looks like illustrations come to life, and the live-action anime of "In This City." The "Mikazuki" and "Murder Sounds" clips suggest that Enon could very easily do a video album -- especially since this collection and its bonus material make such a fun, creative package.
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Enon - Hocus Pocus

--- Quote from: Pitchfork ---After Brainiac's untimely demise, few in the indie realm were expecting much of a comeback from any of its members-- particularly a latecomer like replacement guitarist John Schmersal. And initially, suspicions seemed confirmed by a record he issued on the short-lived SeeThru Broadcasting label under the alias John Stuart Mill, an uneven folk record that couldn't decide whether it wanted to win over the masses or languish forever in used-bin obscurity. But as most music fans agree, it takes more than one talent to make a truly transcendent band, and with the release of Enon's 2000 debut, Believo!, John Schmersal proved himself that missing link.

Believo! proved an incredibly solid, diverse, and most notably, original offering, with its punchdrunk serpentine melodies and Skeleton Key percussionists Steve Calhoon and Rick Lee's junkyard assemblage providing the record's sturdy core. With critical acclaim and moderate indie sales on their side, things were looking up for Enon. That's when Schmersal hit another unexpected roadblock: his entire rhythmic section returned to their former band to record a second full-length-- no less than five years after their first tanked for Capitol Records. Worst decision they ever made? Probably, because John Schmersal was determined. After having death come between him and success, it had to seem like only a minor setback.

Enon quickly bounced back. Picking up singer/bassist/keyboardist Toko Yasuda (late of Blonde Redhead and The Lapse) and drummer Matt Schulz, the band re-emerged fully formed as an outfit more interested in bumping nasties than creeping out audiences with cyborg-rock dirges. Amidst fan concerns that losing half its members would irrevocably derail Enon's plotted course, High Society again surprised everyone. Here, they patented-- and maybe perfected-- their beat-happy dance-pop/rock hybrid, and immediately took their rightful seats at the head table of the rocker class of 2002. How do you follow that up?

No, seriously, Schmersal needs an answer, like, now.

Too late: he decided without you. The choice? An odd one: milking the stylistically varied but thematically consistent formula of High Society, quite possibly on autopilot. Bafflingly sequenced, Hocus Pocus opens rather flatly with the downtempo trip-pop of the Toko-led "Shave", but then revs up with "The Power of Yawning", a Kinksian guitar-pop romp which collapses into a bizarro, almost Bowie-esque bridge spotlighting a stately Schmersal warble. What's more, the record confounds like this all the way through, with many of its most compelling tracks dumped off near the end. A shame, since several of these-- including the moody desperation of the serrated art-punk number "Starcastic" (also the record's first single) and the supremely rarefied strut of "Monsoon"-- would stand out beautifully even amongst High Society's strongest tracks, but may never be discovered by some impatient listeners.

Credit is due for the album's centerpiece and most innovative cut, "Daughter in the House of Fools". A stutter-step Jeep anthem blasting Toko's sing-songy vox and bass-quaking beats, the track belches forth an array of blurts, beeps, and bells, with rhythmic bobs and weaves that indicate that Rick Lee's junkyard percussion-- recreated here via MIDI triggering-- remains at least a psychic influence. The album's most immediate highlights, though, are those that feature Schmersal and Yasuda's dueling male/female vocals ("Starcastic", "Murder Sounds", and the surprisingly sweet lilt of "Candy"), an underused technique in any genre, let alone Enon's budget-futurist danceclub pop.

If you can make it past the album's frustrating layout (I've found liberal use of the 'skip' button to come in handy for this), Hocus Pocus proves a fine collection of songs by pretty much anyone's standards. Not so much a step backwards as a failure to leap fully ahead, this may not be exactly what fans were expecting, but if we're going by Schmersal's track record, it's not nearly the last straw.

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Also here is my favorite track off of High Society, which is probably Enon's best. I don't have that record on mp3, except for this song. I will rectify this soon.

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Modeselektor - Hello Mom!

--- Quote from: Pitchfork ---Hello Mom! might not be a dance-music crossover on the level of, say, Röyksopp albums; it might not even be a crossover on the level of Mylo's or Vitalic's, but it's still impressive enough to entertain folks well outside its core audience-- German electro-tech geekery not entirely required. "Impressive" isn't even the word: There's hardly a minute on this record that doesn't keep turning out to be way more fun than the last time you heard it.

The album comes from Ellen Allien's Bpitch Control, a label whose artists tend to skirt the lines between dancefloor function and home-listening quirk: Even when they aspire to get you deep and sweaty on your nights out, there's something grainy and queasy about it, a kind of twitchy brutalism that reminds you of the person behind the machines. The sounds here that really hit the body-- say, the face-punching blurts on "Kill Bill Vol. 4"-- stay just as tweaked-out lovable at home. And for every one of them, there's a dozen that are just squishy and colorful and even more fun: Check the back-flipping bass lines on "Die Clubnummer", which sound more like dorky robots acting out Three Stooges routines. "Dancingbox" cuts up French rhyming into a granular stutter over tweaks that are active and constant without ever crossing over to hyperactive or gratuitous. "Silicon" does the same with Sasha Perera's vocals, for one of the best results here-- it's almost as if it were made as a demonstration of How to Improve M.I.A.

The front and back ends of this album are full of treats like that-- circus-trick edits, ultra-modern production, and pure sonic candy. What really makes the record worth it, though, is the way it holds up through its more atmospheric center. This stuff slows down nicely, coasting through a few soft electro grooves, pulling off "thoughtful" tones like Orbital, and even sliding into some clattery dub. The constant hi-fi tweaks and switchbacks might tread close to distraction-- or just empty calories-- but there's an ear for melody and movement that seems to keep them from ever drifting too far off.

So what's scaling back on its crossover potential? Well, the fact remains that it's a technical record. There's emotion (see "I Love You"), but it's not an emotional package; there's pop, but it's not a human pop album. You get what you'd expect from tracks with names like "Tetrispack"-- tweaky computer-age fun, thrilling sound, jittery details, robotic rhythmic switchbacks. Albums like this don't hit so many people with deep bonding experiences; they don't wind up on desert island lists. The good news is that we don't live on a desert island, and this album stands a great chance of enlivening a lot of your days here in the non-hypothetical world. At its best, strangely enough, it's a dance imperative free of those deep, dark depths-- and packed with a shiny, geeked-out joy that keeps you cartoon-dancing beside the speaker.
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Modeselektor - Happy Birthday!

--- Quote from: Pitchfork ---Better on paper than in practice, glitch-hop was semi-hot around the turn of the decade, when hordes of electronic music listeners realized that IDM probably couldn't survive on sonic sculptury and naval-gazing alone. Musical Darwinism eventually won out, though, and after a few years' worth of dud records and even dudder MCing, glitch-hop eventually went the way of your garden variety Scott Herren pseudonym, never to be awkwardly nodded along to again.

If you remember any of that, or worse yet, happened to be one of those gullible enough to part with your hard-earned money in exchange for some of those records (I'm fairly certain nobody more did than yours truly), the standard logline on Berlin's Modeselektor ("electronic + hip-hop fusion") might be enough to give you the involuntary shivers. Truth is, though, these guys have moments where they're so good at what they do that they practically redeem the concept altogether.

Modeselektor are Gernot Bronsert and Sebastian Szary. Although Happy Birthday! is only their second full-length, they've been recording together in various capacities for almost 15 years, a period during which they've taken a number of different detours ranging from acid to glitch-hop to IDM to offbeat electro. In Modeselektor, all of those influences have come to rest and congeal into a well-articulated and slightly sinister-sounding whole. But what's interesting about Happy Birthday! isn't just that it fuses together the most unfashionable or discarded elements of electronic music's recent history, but that it manages to sound so fresh in doing so.

Longer and less twitchy than its superb 2005 predecessor Hello Mom!, Happy Birthday! finds the duo stretching out its legs a little more. Where that fidgety debut was a minor triumph of ADD-addled production, the songs on Happy Birthday! are allowed to breathe and settle into a groove. The unrushed tone means that some of them end up working as mini-genre exercises. Tracks like "BMI" and "Edgar", for example, bear all of IDM's finely articulated sonic details. Elsewhere, hip-hop tracks like the TTC-aided "200000" and the Puppetmastaz-aided "The Dark Side of the Sun" throw back to glitch's digitally blenderized vocals.

Ultimately, it's Modeselektor's fidelity to the low end that ties this record together. Where a lot of that old school glitch and IDM stuff was traditionally terrible with unimportant things like, you know, basslines and rhythms, Happy Birthday! pretty much bangs. From the stuttering almost-booty beat of "Hyper Hyper" to "Godspeed"s grinding synths to the fluttering ragga of resurrected oldie "Let Your Love Grow", this is a record made with the dancefloor as much in mind as the bedroom. (And, speaking of the bedroom, it's also worth mentioning that vociferous Modeselektor fan Thom Yorke turns up to calmly and casually outdo at least half of The Eraser with the lovely penultimate ballad "The White Light".)

If there's one criticism to be made of Happy Birthday!, it's to do with its length. 70+ minute records are increasingly difficult to justify in the mp3 age, and, of course, this one isn't without its lulls either. You also have to wonder how such a heroic show of ranginess will position Modeselektor in techno's increasingly specialized and splintered landscape. (One local London zine recently described them as "bassbin-blowing techno hop dubstep core" which is scenester for "fine, you file this" if I've ever heard it.) Ultimately, though, I guess those concerns are for Bpitch's marketing department. So much of this record sounds utterly thrilling coming out of the speakers that it seems silly to quibble over something as boring as taxonomy.
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Planet Mu Records - The Mu School

--- Quote from: Bleep ---At Bleep's behest, Planet Mu owner Mike Paradinas has specially curated this remastered collection of new wave beat-smiths, the Mu-comers, as an exclusive bundle including an unreleased Falty DL track. What's better than all of that? These fourteen tracks are yours for just £5.99.

Since 1995 Mu has been at the forefront of electronic music innovation, in the last year we have witnessed them beating down a fiery new path, releasing wave after wave of twelves from the hottest new producers on the globe: Floating Points, Raffertie, Starkey, Brackles, Few Nolder, Falty DL. This is your chance to capture all this thrilling Mu talent in the one release.
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KvP:

Ulrich Schnauss - A Strangely Isolated Place

--- Quote from: Pitchfork ---Take a close look at your record collection. Like me, you probably own dozens of albums with only one or two good songs, mediocre discs you can't bear to sell because of a catchy college radio hit, or that earnest curiosity your friend played you one night during that perfect two-beer haze before a party, full of excitement. Maybe it's even something you came across in your file-sharing exploits. You're probably afraid you'll never find these records again, and as I approach thirty, that's been the rationale for a lot of questionable hoarding on my part. In short, I will not be selling A Strangely Isolated Place.

Ulrich Schnauss isn't a revolutionary artist. Like Guitar's Peter Grove, he's operating in a software-driven world of loops, and not the least bit concerned about hiding his influences. Though he dotes on everyone from Orbital (unintentional "Belfast" bells rise from the multi-track din that closes "Gone Forever") to OMD ("In All the Wrong Place" begins as a sort of minimalist tribute to "Enola Gay"), he is most obviously obsessed with Slowdive. Listening to his second album, A Strangely Isolated Place, I can only assume Morr's Blue Skied An' Clear tribute to those shoegazers was his idea.

Slowdive's Neil Halstead was a similarly indebted artist. A protégé of the Cocteau Twins' Robin Guthrie, Halstead stretched his predecessor's glistening, reverbed delay to such ephemeral lengths that many early Slowdive songs bordered on precious goth (as did many of their fans). As the band disintegrated, dismissed in the press as students, chaos fueled a masterstroke: 1995's airy, weightless Pygmalion is one of the best of the decade, predicting the ambience that's dominated the independent landscape ever since. Ulrich Schnauss takes cues from "Crazy for You", but more specifically builds from the cathedral electronic tracks appended to the U.S. issue of 1993's Souvlaki (in an odd, backwards moment, this widely available American disc is something of a collector's item abroad-- check out the fold-out poster!).

"A Letter from Home" runs in the fields of Halstead's delay, playing like a ferris wheel ride over teenage abandon abandoned, a slow-motion replay of all the moments you'll never get back. But its aching nostalgia is still too mid-90s danceable-- imagine a hollowed-out taken on Chapterhouse's "Pearl"-- to become oppressively morbid or referential. Schnauss loves the melancholy sound of echoing guitar, but he can't find anything to bleat about, resolutely celebrating the simple joys of life, like faraway trains passing by.

Though "Gone Forever" and "Monday Paracetamol" are made up of instantly recognizable sounds, on closer listen, there's a uniqueness to the way Schnauss brings them together. Where Guitar melded Curve and My Bloody Valentine, so Schnauss plays with Orbital, Slowdive and pre-trip-hop dance beats, popularly abused by the likes of Jesus Jones. Distant vocal moans perfectly drift in and out of his punchy tracks, but his keyboards could use a few new tones. Most of the plastic keys produce sci-fi waves comparable to Vangelis, or the 90s technophilia of B-12's Trans Tourist. By the time of "Clear Day", it seems Schnauss is operating on a premium of equipment and ideas, as most of these tracks are interchangeably paced and compositionally slight.

As if to answer for this borderline monotony, Schnauss closes A Strangely Isolated Place with three wildly different pieces. The almost Spiritualized lament "Blumenthal" drips from plucked nylon strings and xylophone hammers, a proper trip-hop daydream that swells to a glorious walk in the clouds in its most coherent moments. "In All the Wrong Place" is even more daring, a \xB5-Ziq tribute that pays off, properly seating Mike Paradinas' dinky keyboards in a distorted drum-machine bed; I won't go as far as to say it's on par with "Roy Castle", but this is definitely a worthy inheritor to the \xB5-Ziq's electronica masterpiece In Pine Effect.

The title track closer isn't the best send-off-- Schnauss should definitely have closed the record with "In All the Wrong Place"-- but the title track does continue with the reverential Rephlex sounds that work best on this record. When the Halsteadian guitar comes in, it's almost a reminder of what Schnauss has already left behind, a sound with too few options, one he more than explores on the first half of this wonderfully breezy but repetitive full-length.

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Plaid - Rest Proof Clockwork
Oh hey look guys it's another ridiculous Pitchfork review (they gave it an 8.4)

--- Quote from: Pitchfork --->Date: Wed, 29 Sep 1999 17:55:41 -0400
>From: Snake [[email protected]]
>X-Mailer: Mozilla 4.06 [en] (Win98; I)
>To: Tony Blair [[email protected]]
>Subject: X-Plaid922-1; Request for Government Assistance

Dear Mr. Blair:

My position is as an undercover agent in London's secret police mafia. I have been hired to investigate allegations that two former members of Black Dog Productions, Ed Handley and Andy Turner, have illegally obtained official documents pertaining to the creation of a highly addictive, mind- altering chemical agent (referred to in goverment documents as X-Plaid922-1) which affects its victims via audio transmissions rather than means of physical intake.

I am concerned that Handley and Turner may have, under the alias of Plaid, not only unlocked previously unrealized secrets about the production of this chemical agent, but also discovered a way to digitally reproduce it onto compact discs, cassettes, and even vinyl records. As you know, it is the reproduction of the X-Plaid agent to compact disc that is of the utmost concern. In this technologically- advanced society, nearly every home has a compact disc unit. Handley and Turner must be stopped before every person on this Earth becomes an X-Plaid junkie.

The first piece of evidence I have obtained is their 1998 release Not for Threes. The music on this record is so painfully wonderful that even I, Snake "Nerves of Steel" Snakeman, was almost drawn into its tangled web of madness. The album is an excellent indication that Handley and Turner are not working alone. Not for Threes features guest appearances by a number of female vocalists, among them Talkin' Loud Records diva Nicolette and even Icelandic sensation Bjork. When tested for levels of the addictive X-Plaid agent, Not for Threes registered a 7.5 out of 10 on Pitchfork- funded equipment. Luckily, the album did not gain widespread mainstream acceptance, though the minds of a number of club- hopping e-consuming electronic music fans were utterly destroyed.

The greatest shock to me is how an album containing the X-Plaid agent, let alone such excessive amounts, was able to garner enough of a following for the band to appear on our own BBC- operated John Peel show! Thankfully, Plaid had apparently not yet perfected their aural narcotic, as Pitchfork equipment registered X-Plaid levels for the band's subsequent Peel Session EP at a slightly less potent 6.8.

Plaid's latest album, Rest Proof Clockwork, is another story entirely. Here, they seem to have enhanced and mutated the X-Plaid agent dramatically through more varied instrumentation and exploration of what is commonly referred to as melodic "ambient" music. This allows the listener to lose themselves completely in a world of X-Plaid- induced bliss, whether they're paying attention to the music or not. A key demonstration of this is the album's closing track, "Air Locked." The music begins with a series of percussive shuffles and squeaks before beautiful, highly melodic chimes and digital effects enter the mix. The sound is almost spiritual, invoking cinematic rainforest imagery.

The X-Plaid agent is planted throughout this entire record, making it difficult or impossible to resist addiction. For instance, the orchestral "Dead Sea" is an irresistable symphony of pure evil, recalling Jerry Goldsmith's timeless score to "Poltergeist." "Little People" is a blend of \xB5-Ziq's spacy melodic attack, and pummelling, cut-up hip-hop grooves. "Pino Pomo" combines backwards effects with the feel of a futuristic spaghetti western. Even the absurdly titled "New Bass Hippo" pulls through, incorporating shuffling percussion and a Stereolab- influenced piano line.

With every passing second I work on this case, I find myself becoming more and more attached to the sound of the music, but I must venture on... to justice. I will require government assistance-- backup, arms, further documentation from the X-Plaid922-1 file, and a free lunch at the Denny's in Golden Valley, Minnesota, USA-- in apprehending these two zany, madcap individuals. Please respond ASAP.

----
Snake Snakeman,
Secret Police Mafia
Check out my Simpsons website:
http://www.simpsons.secretpolice.co.uk

— Ryan Schreiber, June 21, 1999
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KvP:

FaltyDL - Love is a Liability

--- Quote from: The Quietus ---If there's one emotion that most defines FaltyDL's debut record, it's curiosity: Love Is A Liability the sound of Andrew Lustman's brain unravelling in tapers of warm rave memory, reaching backwards to touch lightly upon that period in the mid-to-late Nineties where jungle was stolen away from the headz and fucked around with by Aphex Twin, Squarepusher, Luke Vibert. For all its awe at those experimenters, the album never feels anything like contrived or unnatural though, possessing a gallant 2-step bounce exemplified best, perhaps, in the questing 'NYG' of 'To New York'.
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E. Spaceman:



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Syclops - I've Got My Eye On You




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