I did manage to find a copy on vinyl!

Good vibes, global beats, and the life changing effects of brain surgery abound in Sofia’s debut.

Like a yomp in the countryside, but it’s a psychic topography made up of all modern dance music in James Holden’s brainy but democratic masterpiece.

Get up and go delivered in spades in this sunny happy dance album.

Chilly and delicate synth missives from the lockdown.

Because sometimes you can be relaxed by drum and bass. Sometimes.

Kiss me while the world decays because I miss you like the deserts miss the rain.

Features odes to carbon dioxide, bullying your kid’s bullies, and candy/kandy.

Anyone for Japanese Techno via German kosmische music and Philip Glass operas?

This is one of my more played Fabric mix CDs so I decided to go for it when my random prompter plumped for this earlier today. One constraint of these posts was to write it in roughly the amount of time it takes to listen to it. You’d think that for a mix CD that would be ok. After all, this mix is a full CD and 74 minutes long.

Went with my friend Nick to see The Orb at Concord 2 last night. The last time I’d seen the Orb was back in 2004, at the start of their relatively dry spell. That night, they’d been a bit lacklustre despite playing (some of) the hits and a relatively decent album in “Bicycles and Tricycles”. I left feeling that I’d seen the past rather than the future, something that I wouldn’t glimpse again in their records until 2015.

Lifeforms is the 1994 album from the Future Sound of London. A double album (just), it also features the talents of Robert Fripp, Ozric Tentacles, Talvin Singh, Toni Halliday, and Liz Frazer. It reached number 6 on the UK album chart and went silver. I have wanted to write about the Lifeforms album for a long time. In 2012, I even tried learning how to tell the tracks apart from one another.

At the new year, thoughts and spare time for writing point me toward writing some new posts for my understated classics series. Expect some new ones soon. I also reflected on my previous choices and thought a bit about how my music tastes have changed recently. Some of this has to do with streaming and the frustrations I wrote about in my last post. Some of it is just down to getting older: I have less time to listen to new music, and much of the ’new’ stuff I listen to is me investigating the stuff I missed first time around.

I don’t know about you, but lately I’ve been in need of some music that: Blots out the outside world Helps me to concentrate on my work Makes me feel a bit less anxious about the state of the world Well, allow me to submit the compilation Trance Nation for your consideration as an understated classic. But Matt I’ve heard trance music, I hear you say, and it’s one of the least understated forms of music possible.

In a perfect confluence of last month’s album digest, here’s an excellent Four Tet remix of Kaitlyn Aurelia Smith’s “I Will Make Room For You” from her album “The Kid”. I’ve put it into a playlist with “Lush” from Four Tet’s “New Energy” album and the original version of “I Will Make Room For You.” Enjoy!

I came late to Orbital’s work. I knew of them through a few remixes and because as a mad Orb fan, they could not have avoided my notice could they? Apart from that, one of my college friends tried to get me into “In Sides” just after its release in 1996. The same friend got me into “Second Toughest In The Infants” by Underworld. I cannot now understand the reason, but “In Sides” just left me cold.

The Orb return with a new EP on the Kompakt label called “Alpine”. “Alpine” is split in to three tracks “Morning”, “Evening” and “Dawn”. The third of these was included on the 2016 edition of Kompakt’s annual “Pop Ambient” compilation, a gently drifting track with plenty of bells and yodels. A diversion from the sounds of Moonbuilding 2703 AD (and its presumably ongoing remixed companion EPs), but it sat nicely with the other tracks.

Last week Underworld reissued their excellent second album “Second Toughest In The Infants” in various formats including a four disc super deluxe edition. I wrote about this album in my understated classics series and I want to share some thoughts on the reissue. I love this album so I was excited to hear the remaster and the additional material. I can’t comment on the physical version of the release as I can’t afford it at the moment.

This little masterpiece was released in 1991. I got my copy on cassette for Christmas that year, but by May in 1992 they’d already “retired” and split up. The KLF were a band in the right place at the right time with the right idea. Taking advantage of synthesizers and the idea of fusing rock and pop music with the emerging sound of house music, they laid the ground for many of the most successful electronic acts that followed them.

The thirtieth understated classic is by a band named after a fish. There isn’t a great deal for me to say about “Our Aim Is To Satisfy”1 apart from the usual insistence that it is quite good. There’s no overarching theme to write about, and no deep personal story attached. It was bound to happen eventually. “Our Aim Is To Satisfy” is one of those albums spawned in the late nineties and early naughties at the height of the Electronica boom: dance music that you didn’t necessarily have to dance to.

I recently spruced up a post I wrote four years ago about Biosphere’s wonderful album Substrata. I added the following footnote about the difference between voice samples and found sound: I suppose I am distinguishing between found sound and vocal samples here. Perhaps there is very little difference, or that one is the other? When is a vocal snippet something more than found sound? Is it the fact that one has meaning?

Or at least its subversive soundtrack… I listened to The Orb’s amazing live album “Live ’93” the other day (after discovering the insipid “History Of The Future” collection on Spotify) and I was amazed at how countercultural and subversive it was. I was listening to this stuff at the age of 14 and now that I’m old enough to be a parent, that makes me a bit uncomfortable. Actually it does nothing of the sort, because it’s frigging awesome.

It was quite hard to choose an 808 State album for the understated classics series for two reasons. The first is that I was introduced to 808 State quite late through a friend’s sister’s cassette copy of The Shamen’s En-Tact (the original version recorded from vinyl that had a thirteen minute version of “Evil Is Eden”) that also had – to fill out the C90 – the full length sweary version of “What Time Is Love?

I have had a lot of ideas for posts swirling around in my head in recent days. This is because I have actually done quite a lot of cool things in that time, and because I have hung out with some great people who make me think, and because I always have a whole load of things bouncing around in there anyway - space junk of the mind. I was thinking about how to put together these thoughts I have been having about art and about stories and yes, about love too.

The second Woob album (AKA “Woob 4495”) is probably the greatest ambient album ever made and is certainly the best one you have never heard of. Originally released in 1995 on the em:t label it is also a rare record. I don’t have an actual copy but I have seen one! I downloaded it off the internet and even that is quite difficult to do. My friend is an avid collector of all the em:t releases and it is easy to see why: all the albums are titled in a specific way that is very appealing to people who like to collect things and they also have very striking nature photography on the covers.

“I see the people working and see it working for them.” (Sat In Your Lap) The Dreaming by Kate Bush is a strange 1982 album that many believed had destroyed her career. Two weeks before her first ever performance of “Running Up That Hill”, the NME had written an editorial asking whether she had burnt herself out completely. Obviously “Running Up That Hill” (recently used to great effect in the Olympic Closing Ceremony) and the parent album “The Hounds Of Love” that followed showed that she had plenty more up her sleeve.

Say what? We’re allowing compilations now? Yes. Why not? A good mix is as much an artistic statement as a full-blown single artist album. It takes a lot of skill to get from A to B and keep everything on the boil in between. This Fabric mix by The Amalgamation Of Soundz is one of my favourites because it is a downtempo (but, crucially, not too downtempo) compilation delivered with flair and using what I consider to be unconventional sources (soundtracks, tribute albums, hip-hop) to do it.

Sit back and let it happen, / Let us take your time away. Nearly God is Tricky’s second album, which was released under a different name either because Island rejected it as the follow-up to Maxinequaye or because it came too quickly after and Tricky just wanted it released. I had this album before Maxinequaye because back then it wasn’t as easy to go back and catch up with albums that you had missed as it is now.

Among Fields of Crystal / Wind in Lonely Fences I have written about a fair number of ambient albums in this series (and there are at least two more to come!) but perhaps none are as unobtrusive as this one by Howard Budd and Brian Eno. It’s a subtle collection of music that sits at the margins of your consciousness: for a long time it was the music that I turned to when I could not sleep but I could just as easily imagine it as (ahem!

I got into Début via a cassette from the library, much like I did with Together Alone by Crowded House. I suppose it is less obscure than many of my choices for this strand but I do think that Post is more well-known (because of It’s Oh So Quiet, which we shall mention here only briefly) and that Homogenic is probably more popular among her fans. What I really like about Début though, as much as the album itself, is the panoply of remixes and alternative versions that surround the release.

I think it’s time to discuss your philosophy of drug use as it relates to artistic endeavour… That quote is from the movie “The Naked Lunch” directed by David Cronenburg (see also this) and it also opens “Bug Powder Dust” by Bomb The Bass, the five star single that opens “Clear”. A rollicking piece of rock rap dripping with pop culture references that runs for four and half minutes and does not stop until another quote from “The Naked Lunch”, it is probably one of my favourite songs of the 90s.

FUN FACT: It was because of the artwork to this album that I obsessively scrawled onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome onourwayhome on my pencil case at school. I also had a very passable u.f.orb logo drawn on it too. In The Blue Room I had my first “close encounter” with The Orb in 1992 when the single Blue Room was in the charts.

Your rails, your fins, your thin paper wings Second Toughest in the Infants (STITI) is the second album by Underworld, released in 1995. This was just ahead of the mania caused by the .NUXX version of Born Slippy appearing on the Trainspotting soundtrack a little later. Born Slippy itself, the blippy techno confection released between their début Dubnobasswithmyheadman and this album. STITI then is very much the calm before the storm and features a band (in the truest sense, which is unusual among electronic acts) in full flow.

Background Tiger Bay is Saint Etienne’s third album and I think it is among their best. It was released in June 1994 on Heavenly records. I first owned a copy in 1998 when I picked it up while living in halls as an undergraduate. The reason for including this album in the understated classics series is the same as for Second Light by Dreadzone: it marries traditional forms to newer electronic music1.

In the understated classics series, I try to alternate between pop/rock and electronic albums. Keeping with this trend number eight is the wonderful dub-infused album Second Light by Dreadzone. Released in 1996 it was well-received critically and four of its tracks featured on John Peel’s best-of-year list that year. Little Britain received a lot of radio play, a popular choice for that flag-waving period of britpop and assorted other demons.

Background Ask anyone into pop music between 1991 and 1993 about The Shamen, and you’ll either receive a flood of euphoric good will about excellent tracks like Move Any Mountain, LSI, and Phorever People1; or they will rant at you about the evils of Ebeneezer Goode. The Shamen are either one of the pantheon of great acts from early 90’s dance and electronic music, or they are a shameless vaudeville novelty act.

I bought this album in the summer between my two years at college. I remember listening to this music under skies glowering with clouds so 1997 must have been a poor summer. I’d just bought a book of photography too, which placed photos from the north and south poles on opposite pages. I bought it mainly for the penguins that were, of course, on pretty much every other page. The pictures of snow and ice soon became the ideal companions to this album.

I discovered The Aloof while listening to the Top 40 When I was younger, I used to listen to the Top 40 every Sunday. To begin with, this was partly an endurance thing and partly an obsession with one day seeing Roxette top the charts - alas, they never did, though for one thrilling spring “Joyride” did flirt with the upper reaches of the chart. Listening to the charts is probably the best way to become a lover of music.