The 1990s, a decade of unprecedented musical diversification, witnessed an explosion of genres ranging from Britpop and grunge to hip-hop, trip-hop, shoegaze, and numerous other innovative styles. This period marked not only the end of a millennium and century but also a vibrant era in music history, defined by technological advancements and a rich tapestry of sounds that evolved from the roots of rock and roll.
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This decade was particularly transformative for electronic dance music (EDM). The accessibility of music production tools and the rise of digital platforms sparked new genres and the evolution of DJ culture. Iconic festivals like Berlin’s Love Parade propelled EDM into the mainstream. Yet, amidst this innovation, countless outstanding albums remained underappreciated. Overshadowed by more commercial sounds, these hidden gems didn’t get the recognition they deserved.
Now, we revisit a massive list of underrated ’90s albums, urging you to explore these overlooked masterpieces that encapsulate the decade’s rich musical diversity and creativity.
Funki Porcini – Hed Phone Sex
“Hed Phone Sex” by Funki Porcini is a quintessential example of 90s Ninja Tune and trip-hop glory. Created by James Braddell, a.k.a. Funki Porcini, this album emerges from a deep dive into the sampling world, stretching from charity shop records to promotional flexi discs. It’s an adventurous journey through dubby bass, engaging dialogue snippets, and intricate drum programming. Braddell’s experimental approach included miking up frozen lakes and pitch-shifting his voice to create unique sounds and characters, showcasing his commitment to audio exploration.
This album represents a labor of love in an era when sampling was a painstaking task. “Hed Phone Sex” is not just an album; it’s a testament to the power of indulgence in creativity, a psychedelic journey through sound that was ahead of its time and still resonates with listeners looking for something beyond the ordinary.
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Banco de Gaia – Last Train to Lhasa
“Banco de Gaia’s ‘Last Train to Lhasa’ stands out in their discography, merging ambient techno with world music in a transnational tribute. With its mix of Eastern instrumentation and vocals, it parallels the styles of The Orb and The Future Sound of London yet carves out its niche.
The album offers warmth and serenity across its tracks, with the title track and ‘Amber’ being highlights for their rhythmic electronic beats. It’s an exploratory journey for fans of ‘ethnic’ downtempo, memorable for its multicultural fusion rather than individual tracks.”
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EBN – Telecommunication Breakdown
“Telecommunication Breakdown” by Emergency Broadcast Network is a groundbreaking 1995 release that flew under the radar, blending music with multimedia innovation. The album’s CD-ROM format was ahead of its time, offering interactive videos, adjustable TV images, and lyrics for each track. Beyond its visual appeal, the music is a testament to Jack Dangers’ (of Meat Beat Manifesto fame) production prowess.
Rooted in samples, TV clips, and soundbites, it transcends traditional musicianship, relying instead on a collective of producers and audio/visual experts. Highlights include Brian Eno’s contribution to “Homicidal Schizophrenic” and Bill Laswell’s work on “Shoot the Mac-10,” featuring Grandmaster Melle Mel. Packed with soundbites and commercial interludes, its abundance is central to the album’s charm, making “Telecommunication Breakdown” an unmissable feast for the ears and eyes.
Download – The Eyes of Stanley Pain
“Download – The Eyes of Stanley Pain” is a standout album in 90s industrial music. Praised for its excellent mastering, especially in its picture disc format, the album is a kaleidoscope of shifting, transformative landscapes of noise and tech-driven beats. Its blend of grimy, abrasive yet clean, and crisp psychedelic tones marks it as a quintessential expression of the genre.
The album embodies controlled chaos, featuring contributions from prominent figures like Brian Eno and Bill Laswell. Listeners are advised to opt for the black vinyl version, which offers superior sound quality over the more expensive colored vinyl, often seen as just collector’s bait.
This album is not just music; it’s an auditory journey through hyperdrive, mixing synthpop, pure noise, and techno to reflect the creators’ exploratory phase in their career. It’s a must-listen, but only for those with a taste for diverse, abstract electronic music, representing the last significant ‘industrial’ offering from Key & co.
Amon Tobin – Bricolage
“Amon Tobin’s ‘Bricolage’ is a masterful fusion of drum and bass with jazz, creating a seamless sound that defies genre classification. Tobin’s use of keyboards and samplers to produce incredibly lifelike instruments results in an album that stands shoulder to shoulder with classics by Quincy Jones and Miles Davis. It’s a testament to what can be achieved with minimal equipment and immense talent.
The album’s downtempo aesthetic adds to its atmospheric depth, making it feel surreal and fast-paced. Praised as one of the most distinct-sounding 90s electronic albums, ‘Bricolage’ walks a fine line between dance and jazz, experimenting with various moods and atmospheres. This pioneering work in ‘Jazzstep’ represents Tobin at the peak of his creative powers, offering a unique and captivating listening experience.”
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Kid Loco – A Grand Love Story
Kid Loco’s entry into the music scene, courtesy of UK-based electronic label Yellow Productions, is marked by his debut EP “Prelude to a Grand Love Story.” Known for his remixing skills, as showcased through his re-arrangements for artists like the High Llamas and Mogwai, Loco brings a blend of new age vibes and spaced-out psychedelics, reminiscent of DJ Shadow and Ninja Tune’s darker offerings from the mid-90s.
The EP, however, features only two original tracks, with the rest being a mix of various remixes. Standouts include Saint Etienne’s minimalistic take and Jim O’Rourke’s eclectic remix of “Love Me Sweet” and Bang Bang’s organic reinterpretation of “She’s My Lover.” Although the EP has a hit-and-miss nature, it successfully previews Kid Loco’s talent and sets the stage for his full-length debut with Atlantic Records, leaving listeners eager for more of his original work.
Lionrock – An Instinct for Detection
“Lionrock’s ‘An Instinct for Detection’ stands out in the big beat genre with its unique and eclectic sound. The album, infused with British characters, features tracks like ‘Wilmslow Road,’ which reflects Justin Robertson’s experiences with its aura of petty theft, and incorporates dialogues from Sherlock Holmes movies. The album masterfully blends noisy, sometimes chaotic sounds, as in ‘The Guide,’ with the tribal drums and alarms in ‘Don’t Die Foolish’ and the menacing techno beats of ‘Peace Repackaged.’
The album also showcases a late 19th/early 20th-century jazzy vibe in tracks like ‘Straight At Yer Head,’ featuring MC Buzz B, and the relaxing ‘Snapshot On Pollard Street.’ However, it contrasts these with darker, more industrial compositions like ‘Death Valley Clapperboard’ and ‘Bag of Biros.’ Highlights include ‘Number Nine’ with its addictive siren-like sound and ‘The Guide’ with impressive trumpet samples.
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Cassius – 1999
“Cassius’ ‘1999’ delivers techno grooves infused with ’70s disco samples, but it struggles to transcend its genre. While the concept is solid, the execution often questions the impact of its retro influences.
As a dance album, it competes well with other house and techno compilations but lacks the cerebral depth often expected from Astralwerks artists. Tracks like the synth-driven ‘La Monde’ and the groovy ‘Club Soixante Quinze’ stand out, but overall, the album falls short of being remarkable. Despite its French origins, a hub for innovative DJs, ‘1999’ doesn’t quite cut in a market rich with superior techno offerings.”
Les Rhythmes Digitales – Darkdancer
Under his alias Les Rythmes Digitales, Stuart Price showcases his versatile production prowess in re-releasing his 1999 album ‘Darkdancer.’ Spanning two discs, the first features his original productions, while the second offers club-friendly remixes and videos. The first disc boasts standout tracks like the upbeat ‘Dreamin’,’ the retro-funk flavored ‘Music Makes You Lose Control,’ and the stylish ‘Hypnotise.’ The album revisits the 80s with ‘Take A Little Time’ and delivers deep, rhythmic vibes in ‘Brothers.’ ‘Jacques Your Body (Make Me Sweat)’ and ‘Sometimes’ highlight Price’s ability to blend commercial appeal with unique sounds, while ‘Damaged People’ closes the disc with smooth beats and calming strings.
The second disc appeals to DJs with remixes like the ‘Jacques Your Body’ club mix and a smooth electro house rework of ‘Sometimes’ by Junior Sanchez. Though missing some of Price’s renowned remixes for other artists, ‘Darkdancer’ remains an engaging listen, its upbeat, distinctive style showcasing Price’s enduring talent despite the age of the productions.
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Mr. Scruff – Keep it Unreal
Mr. Scruff’s “Keep It Unreal” is a triumph in imaginative breakbeat craftsmanship. The album, marked by its diverse moods and tempos, weaves a spellbinding mix of vibes, skillfully balancing progression with feel-good rhythms. Standout tracks include the single “Honeydew,” which blends rich, soulful vocals with new wave-inspired drum programs, and “Get a Move On,” powered by a galloping beat and a potential Louis Jordan sample. The album also delves into deeper territories with “Midnight Feast,” reminiscent of a Portishead track, and “Cheeky,” a bright, deep-groove house number.
While some tracks nod to Amon Tobin’s swing-era styles, Mr. Scruff’s originality shines through, making “Keep It Unreal” a distinct and well-executed showcase of his unique musical vision.
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Howie B – Turn the Dark Off
Howie B.’s experience working on U2’s ‘Pop’ album in 1997 significantly enhances his second solo album, ‘Turn the Dark Off.’ Positioned among the late-’90s big beat heavyweights like the Chemical Brothers and the Prodigy, the album stands out for its studio ingenuity despite not completely surpassing its peers.
While some tracks retain atmospheric elements reminiscent of his previous work ‘Music for Babies,’ diminishing their energy, ‘Turn the Dark Off’ still holds its ground. Notable tracks include “Buttmeat” and the standout single “Angels Go Bald Too,” showcasing Howie B.’s knack for blending engaging beats with his distinctive studio flair.
Death in Vegas – Dead Elvis
Richard Fearless’ dual role as a DJ heavily influences his work on “Dead Elvis.” While this leads to some predictable moments in tracks like the single “Dirt,” where the formulaic approach restricts the element of surprise, the album shines when Fearless and Steve Hillier venture beyond the norm. Their experimentation with dub rhythms and funky acid styles, rather than relying solely on sampled guitar riffs, results in notably more captivating and impressive tracks.
This divergence from the expected showcases their ability to innovate within their genre.
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London Funk Allstars – London Funk Volume 1
London Funk Allstars’ “London Funk Volume 1” is a refreshing fusion of hip-hop and jazz, delivering a predominantly up-tempo experience with a refreshingly low profanity content, uncommon in rap and hip-hop genres. The album, hailed for its fun vibe, is a standout with tracks like the much-loved #9. Harking back to the early days of ‘trip-hop’, the album embraces its b-boy origins, blending retro samples with modern beats. Tracks like “Funky Sweater” combine mellow sax with robust beats, while “Booyakka” and “Listen to the Beat” demonstrate a more diverse sonic palette beyond just beats.
While some tracks like “Wikki’s Revenge” and “Body Rock” may lack development, their brevity keeps the album dynamic. Highlights include the groovy “So Good,” the jazzy “What’s In The Basket?,” and the energetic “Bang Boogie Boogie.” “Chun Li Vs. Wah Wah Man” and “6 Million Dollar Man” add a playful, adventurous edge. “London Funk Volume 1” is a vibrant, eclectic mix, perfect for kickstarting any party.
Dreadzone – Biological Radio
Dreadzone’s album stands as a testament to their unique sound, blending dub and dance in a way that keeps fans returning to it time and again. It’s a dynamic record showcasing their ability to seamlessly merge different styles, creating a relaxed and rhythmically engaging sound. Tracks like ‘Ali Baba’ stand out for their cool Dancehall-DnB grooves, appealing to fans of their earlier work while pushing into new territories.
The album’s versatility is one of its strengths, effortlessly shifting from dub to dance without losing its cohesive feel. Whether seen live or experienced through their recorded work, Dreadzone offers a memorable musical journey, making this album a must-have for fans and a great introduction for new listeners. It’s not just an album; it’s an experience, filled with rich, resonant tunes that resonate long after the last track has played.
David Holmes – This Film’s Crap Let’s Slash the Seats
“This Film’s Crap: Let’s Slash the Seats” by David Holmes offers a unique listening experience, best appreciated as a precursor to film soundtracking rather than a conventional techno album. The opener, “No Man’s Land” sets a moody, late-night vibe reminiscent of classic spy films, blending modern elements with cinematic tones akin to In the Nursery’s work. Other standout tracks include “Inspired by Leyburn,” featuring a John Barry/Ennio Morricone-style guitar figure, and the atmospheric closer “Coming Home to the Sun.”
While the more techno-centric tracks like “Got Fucked Up Along the Way” are adequate for dancefloors, they shine brightest when echoing soundtrack-like chase scenes. A notable highlight is the collaboration with Sarah Cracknell on “Gone,” a jazz-infused ballad that modernizes the seductive style of Julee Cruise. The American version of the album enriches the experience with a bonus disc of tracks and remixes, including a Kruder & Dorfmeister rework of “Gone,” adding another layer to this intriguing, soundtrack-esque techno album.
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Add N to (X) – Avant Hard
Once a skeptic of analog synths, my perspective shifted dramatically after encountering a 1985 Korg Poly-800. This experience unveiled the true charm of analog instruments, their tactile nature fostering a more creative sound exploration than digital alternatives. This revelation aligns perfectly with the ethos of Add N to (X), particularly in their albums ‘On the Wires of Our Nerves’ and ‘Avant Hard.’
These records epitomize the raw, unbridled joy of analog synthesis, crafting abrasive, yet intriguing soundscapes that marked some of the most exciting electronic music of the 1990s.
Howie B – Music for Babies
Howie B., known for his work with Skylab, U2’s Passengers, and Björk, brings his innovative use of technology to his debut solo album, “Music for Babies.” This trip-hop journey is characterized by its unique effects, creating an auditory experience akin to listening to music from within the womb – a fitting parallel given the birth of Howie’s child during the album’s production. The album’s opener slowly unfurls into the more engaging “Cry,” which features a downtempo beat and high-pitched scratch effects that push sonic boundaries.
“How to Suckie” delves into a trance-like mood with muted trumpet and vibraphone, reminiscent of Pharoah Sanders’ ethno-jazz. While “Music for Babies” stands out in the trip-hop landscape with its innovative approach, its overarching sleepy mood may veer too close to its infantile title for some listeners, teetering on the edge of being overly subdued.
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Cabaret Voltaire – The Conversation
Cabaret Voltaire’s “The Conversation,” released by Plastex/Instinct, stands out as the most abstract work among their trio of albums. Its expansive nature, stretching over two hours and across a double-disc set, gives it a cinematic quality, particularly with the second disc comprising a single hour-long track. While the album often feels like a modernized continuation of their previous works, “Plasticity” and “International Language,” it also delves into darker, more complex textures reminiscent of Cabaret Voltaire’s early ’80s style.
This blend of the new and the nostalgic marks “The Conversation” as a unique addition to their discography, offering a deep, immersive listening experience that bridges different eras of their musical evolution.
Fluke – Six Wheels on My Wagon
Fluke’s trance-pop record, distinguished by charting singles such as “Groovy Feeling” and the ironically titled “Electric Guitar,” demonstrates that their shift from intellectual electronic dance to mainstream popularity should not be viewed as a decline.
This transition, often underrated, showcases their ability to maintain a sophisticated production quality while achieving broader appeal. Tracks like “Spacey (Catch 22 Dub)” and “Eko” are prime examples of this, offering moments of production-oriented bliss that blend the complexity of electronic dance with the accessibility of popular music.
This balance makes the record a standout, deserving more recognition for its skillful fusion of genres and appeal to niche and broader audiences.
Earthling – Radar
“Radar” by Earthling, an album emerging from the unlikely backdrop of Ilford, Essex, embodies a unique blend of genres that, unfortunately, remains underrated. The album opens with the six-minute “1st Transmission,” a track that showcases rapper Mau’s distinctive estuary-English patois, reminiscent of scat-jazz era lyricism. His rapid-fire, free-association style weaves through various cultural references, from Harvey Keitel to Juliette Binoche, adding a rich textual layer to the album.
Musically, “Radar” benefits from the expertise of co-writer Tim Saul, known for his work on Portishead’s “Dummy.” The sound, often described as a jazz-influenced take on trip-hop, is far more eclectic, evidenced by tracks like “I Love Albert Einstein,” which samples Athletico Spizz 80’s “No Room.” Mau’s old-school, fluid hip-hop delivery is the album’s driving force, offering a fresh and dynamic listening experience.
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Solar Quest – Orgship
Solar Quest’s “Orgship” stands as a rare gem in the realm of ’90s ambient music, comparable to the early works of Biosphere. Its tracks are a masterful blend of variety and timelessness, avoiding the clichés of its era. The album is rich with Roland synthesizers, featuring the Juno, real bass guitar, smooth rhythms, and captivating electronic blips and bleeps. “Save the Whale,” a standout track, is an emotional journey capable of moving listeners to tears within the first few seconds.
The album, described as a desert island disc, is a perfect companion for peaceful relaxation. Its tracks, like “Belle of Atlantis,” transport listeners to serene, oceanic depths with dream-like synth flows and percussive elements reminiscent of shooting stars. “Orgship” is acclaimed alongside other ambient masterpieces, offering an organic, dreamy journey through solar soundscapes. It is an essential listen for those seeking a spherical and mesmerizing ambient experience, deserving a re-release for its timeless beauty.
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Robert Leiner – Visions of the Past
“Visions of the Past,” released in 1994, is a significantly underrated gem in the electronic music world. The album masterfully alternates between vibrant uptempo trance pieces and haunting ambient tracks. Its standout, “Aqua Viva,” is a captivating 12-minute odyssey, seamlessly integrating dolphin sounds to create an immersive aquatic experience.
On the other end of the spectrum, tracks like “Northern Dark,” “Dream or Reality,” and the eponymous “Visions of the Past” delve into more sinister territories, crafting an atmosphere so intense it sends shivers down the spine.
This juxtaposition of euphoric trance and eerie ambiance forms a unique and compelling dichotomy, making the album a remarkable and deeply engaging experience that deserves far more recognition.
Sub Sub – Full Fathom Five
Sub Sub’s ‘Full Fathom Five’ is a mixed bag, beginning questionably with ‘Coast,’ a track so entrenched in ‘90s house music clichés it feels almost parodic. Dated synths and uninspired drum machines set a worrying tone, suggesting a potential misstep in revisiting this early work from the ‘Madchester’ dance act. However, the album quickly redeems itself with ‘Angel,’ a standout track featuring Nina Henchion’s captivating vocals and smooth production, which could have easily been a hit. ‘Valium Jazz’ maintains the momentum with its versatile groove, while ‘Southern Trees,’ despite its slower pace, impresses with Gill Jackson’s guest vocals and evocative string effects.
Surprisingly, the hit single ‘Ain’t No Love’ falls short, lacking the complexity and depth to truly engage, somewhat reminiscent of DeeeLite on an off day. ‘Full Fathom Five,’ teeters on the edge of being disposable, a curious yet non-essential artifact of a music scene on the brink of overshadowing big beat’s rise. While the album does have its enjoyable moments, it’s marred by cliches and dated elements, making it a piece of history that’s interesting to explore but not critical to the experience.
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One Dove – Morning Dove White
“One Dove’s ‘Morning Dove White’ is a poignant example of an album deserving more acclaim and success. In an ideal music industry narrative, such albums would catapult a band to fame, but often, excellent records like this one remain underappreciated. Despite crafting a sound that perfectly blends chilled electronica and dub with dancefloor appeal, One Dove faced challenges right from their inception. Their journey was marred by record label pressures for commercialization, leading to tensions and a year-long delay in releasing ‘Morning Dove White.’ When it was released, it only achieved modest success.
The album is a mesmerizing mix of euphoria and melancholy, capturing the essence of the ’90s club scene with an unhurried elegance. Tracks like ‘White Love’ and ‘Transient Truth’ showcase an epic, sprawling sound, while ‘Why Don’t You Take Me’ offers a pop sensibility layered with dub influences. The album could take you on a journey, being a companion for a night out and a solace for heartbreak.
Despite the artistic brilliance and the extraordinary music on ‘Morning Dove White,’ One Dove’s journey was fraught with frustration, leading to their untimely split during the recording of their second album. Dot Allison’s subsequent solo career, marked by collaborations with artists like Massive Attack, is a testament to the talent inherent in the band.
‘One Dove’s Morning Dove White’ remains a cherished yet underrated album, a testament to a band whose artistic vision was constrained by the industry, leaving us to wonder about what could have been in a more encouraging environment.”
Union Jack – There Will Be No Armageddon
Union Jack’s first full-length CD is a must-have for any electronica fan’s music library. People who aren’t familiar with the genre will find this album to be powerful yet still palatable. Full-on trance-heads may find fault with some of the tracks but will probably still hold onto them just for nostalgia’s sake; “Two Full Moons and a Trout” was one of the biggest hits of the mid-’90s dance scene.
The first track, “Red Herring,” uses two tried-and-true elements — solid beats and an infectious female vocal loop — to create a track that can appeal to just about everyone. But really, there’s no point in figuring out where each song begins and ends on this head-trip of a CD. Just ride the highs and lows, the lulls and the builds, the beats, and the dreamy vocals; there’s plenty of all of it because this is ambient trance, which is very different from all the other subgenres in the trance category. Whereas most trance albums are beat-intensive and only suitable for a dance club or party environment, this CD is appropriate for play in just about any setting.
Black Dog Productions – Bytes
During their prolific phase between 1993 and 1995, The Black Dog, a trailblazing UK electronic music group, crafted the seminal albums ‘Bytes’ and ‘Spanners’, recently reissued by Warp Records. ‘Bytes’, a unique compilation rather than a traditional album, showcases the diverse talents and alter-egos of members Ken Downie, Ed Hanley, and Andy Turner. It’s a distinctive entry in Warp’s Artificial Intelligence trilogy, revealing the group’s varied musical styles, from Downie’s raw, energetic tracks to Hanley’s euphoric Close Up Over and Balil projects.
In contrast, ‘Spanners’, often hailed as the group’s magnum opus, reflects a refined evolution of their sound. It weaves techno, acid, and electronica together with whimsical elements reminiscent of Boards Of Canada, creating an immersive, textured soundscape. Together, ‘Bytes’ and ‘Spanners’ highlight the group’s pioneering spirit and their ability to transform their diverse influences into a unique, enduring sound.
Lo Fidelity All-stars – How To Operate With A Blown Mind
Lo-Fidelity Allstars’ debut album, “How to Operate With a Blown Mind,” is a testament to their unique ability to seamlessly blend genres, creating a sound that sets them apart from their Skint labelmates. This album is a vibrant collage of acid house, hip-hop, punk, soul, and disco, showcasing their eclectic musical prowess. It features high-energy singles like “Vision Incision” and “Kool Roc Bass” while introducing new tracks that push boundaries, such as the Hi-NRG/electrofusion of “Lazer Sheep Dip Funk” and the early-’80s funk vibe of “Battle Flag,” reminiscent of Prince or Jamiroquai.
However, their ambitious genre-hopping sometimes misses the mark, as seen in tracks like “I Used to Fall in Love” and “Vision Incision,” where harsh distortions and strained vocals detract from the overall cohesion. Despite these occasional missteps, the album is a bold exploration of diverse musical landscapes, marking Lo-Fidelity Allstars as innovators in their field.
Seefeel – Quique
Seefeel’s 1993 album “Quique,” a masterpiece in the early ’90s shoegaze-turned-electronic scene, defies simple categorization decades after its release. The band’s performance, as captured in live footage of “Industrious” from a Russian festival, speaks to a bygone era dominated by MIDI-sequencing, yet their sound remains incredibly modern. Seefeel’s music, a blend of My Bloody Valentine’s dreamy textures and techno’s structured beats has become a cornerstone for an entire generation of artists who have built an ambient-motorik noise-pop aesthetic around it.
This influential album, now reissued as the “Redux Edition,” showcases the embryonic stages of a genre that merges electronic music with a distinct rock aftertaste. From Tim Hecker’s noise explorations to M83’s sequenced landscapes, Seefeel’s influence is palpable.
Bola – Soup
“Soup” reveals its subtlety and sophistication upon revisitation, distinguishing itself from its Manchester contemporaries with a comforting familiarity akin to a warm, homemade soup. Fitton’s work, particularly evident in tracks like “Forcasa,” divided into three parts, showcases a mastery in blending docile, meditative sounds with punctuated rhythms, creating a textured, earthy feel.
The album’s journey through varying soundscapes, from Vangelis-esque spacey expanses to rain-like patterns in denser keyboard layers, illustrates Fitton’s adeptness at navigating the IDM genre. “Aguilla,” a Skam classic, shines in this reissue, combining overcast drum hits with staticky crunch and intimate, airy flutist melodies, showcasing a unique blend of lightness and depth in IDM music. In essence, revisiting Bola’s “Soup” is like rediscovering an old favorite, offering nostalgia and a fresh perspective on the genre’s evolution.
Meat Beat Manifesto – Subliminal Sandwich
Meat Beat Manifesto, a pioneering name in Trip-Hop Electronica since the late 80s, hit their zenith with the double album “Subliminal Sandwich.” This collection showcases Jack Dangers’ evolution from purely electronic compositions to more organically textured soundscapes.
The first disc outshines the second, with Dangers skillfully blending live-sounding beats, real instruments, and a hauntingly eerie atmosphere. The album oscillates between instrumental tracks, laden with unsettling samples and Trip-Hop beats, and vocal tracks that feature rhythmically spoken, processed vocals fitting the album’s creepy aura. “She’s Unreal” exemplifies the former with its deep bass, hip-hop beat, and chilling voice samples. At the same time, “Asbestos Lead Asbestos” represents the latter with its enigmatic vocals and sinister synth lines. However, the second disc falls short, reverting to a more generic electronic Trip-Hop sound devoid of the memorable elements of the first.
Despite this dip in quality, “Subliminal Sandwich” remains a seminal work for long-time Trip-Hop enthusiasts and a worthwhile exploration for newcomers drawn to darker, more unconventional music. The album stands out as a near-classic in the genre, primarily due to its innovative first disc that brilliantly captures the essence of Meat Beat Manifesto’s unique style.
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Clatterbox – Eazy Does It
Clatterbox’s sophomore release, “Eazy Does It,” elevates its appeal with an innovative tab-and-slot sleeve for both vinyl and CD versions, showcasing the label Clear’s commitment to creative packaging. This album diverges slightly from the eclectic sounds of their self-titled debut, delving deeper into a unique blend of breaks.
It skillfully melds the funk-infused hip-hop beats reminiscent of the West Coast with the pioneering electro vibes of early New York and Philadelphia. Adding value to the CD version, Clatterbox includes tracks from their debut double 10-inch vinyl, previously unavailable in digital format, making “Eazy Does It” a comprehensive showcase of their evolving sound.
This release not only solidifies Clatterbox’s distinct style but also highlights the innovative spirit of Clear as a label unafraid to experiment with both music and presentation.
Electronic Eye – Closed Circuit
The mid-1990s marked a highly productive era for Kirk as he delved deeper into warm, melodic electronica, producing some of his most exceptional works to date. “Closed Circuit” stands as a testament to this creative surge. While it shares certain characteristics with his earlier works like “Virtual State” and “Digital Lifeforms,” it undeniably merits its unique place in his discography. The album radiates an unexpected vibrancy, especially evident in tracks like ‘Bush Channel Stepper,’ which might come as a pleasant surprise to those who primarily associate Kirk with his industrial beginnings.
The release of “Closed Circuit” under Beyond Records positioned Kirk within the emerging ambient dub scene of the early 1990s. This genre was gaining momentum alongside the success of The Orb and the growing popularity of chill-out rooms. This period saw a blending of genres and experimentation that pushed the boundaries of electronic music, with Kirk at the forefront, exploring new soundscapes and expanding his musical horizons.
Two Lone Swordsmen – Swimming Not Skimming
“Swimming Not Skimming” by Two Lone Swordsmen, featuring the late Andrew Weatherall, is a remarkable record that, like many of Weatherall’s works, has gained a newfound appreciation posthumously.
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Weatherall, akin to David Bowie in the realm of electronic music, was an artist who seamlessly wove himself into the genre’s fabric, consistently producing innovative music, often without the fanfare his talent deserved. His passing seemed to awaken many to the sheer breadth and depth of his contributions, leading to a surge in demand for his records. Among these, “Swimming Not Skimming” stands out, particularly for its track “Ricos Helly Retailored by Nourizadeh & Teasdale,” a deep house classic that showcases Weatherall’s unique style and enduring influence.
The album is a testament to Weatherall’s quietly impactful presence in the music world, a space that feels distinctly different without him.
Moloko – Do You Like My Tight Sweater?
Moloko’s debut album “Do You Like My Tight Sweater?” blends funk, electronica, and theatricality, driven by Roisin Murphy’s versatile and charismatic vocals. Her range, from a seductive purr to a commanding growl, brings to life an array of intriguing characters, from dominatrixes to party eccentrics. Mark Brydon’s innovative arrangements match Murphy’s vocal prowess, weaving together dynamic tempos, breakbeats, and eclectic sound effects with futuristic keyboard lines to create a cerebral yet physically engaging experience.
Tracks like “Fun for Me,” “I Can’t Help Myself,” “Lotus Eaters,” and “Party Weirdo” stand out with their blend of sensuality and cutting-edge electronic sounds. Despite some tracks like “On My Horsey” and “Dirty Monkey” feeling somewhat out of place, the album’s danceable ingenuity and stylish fusion of genres make “Do You Like My Tight Sweater?” a standout debut for Moloko.
DJ Spooky – Riddim Warfare
DJ Spooky’s “Riddim Warfare” is a vibrant tapestry of sound, an album that defies easy categorization, blending elements of hip-hop, electronica, and avant-garde music. It’s an eclectic mix that may not be universally appealing, but for those with a taste for experimentalism, it’s a richly rewarding experience. The album features various guest artists, ranging from Kool Keith to more obscure names, all contributing to its diverse sonic palette.
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Tracks oscillate between intense, beat-driven compositions and more atmospheric, reflective pieces, showcasing DJ Spooky’s mastery of manipulating sound and rhythm. While some tracks may feel disjointed to the casual listener, the album’s adventurous spirit and willingness to push boundaries make it a standout in DJ Spooky’s discography. It’s an album that requires patience and an open mind, but for those willing to dive into its depths, “Riddim Warfare” offers a unique and captivating listening experience.
Mr Oizo – Analog Worms Attack
“Analog Worms Attack,” the debut album by Quentin Dupieux, a.k.a. Mr. Oizo, is a unique blend of experimental techno and playful electronica.
While the album gained attention primarily for “Flat Beat,” known for its iconic Levi’s ad, it offers much more than this single hit. Dupieux crafts a sound that ingeniously marries the experimental edges of techno, seen in artists like Cristian Vogel and Laurent Garnier, with the quirky charm of novelty tracks. Tracks like “Monophonic Shit” and “No Day Massacre” showcase a blend of deep grooves and unconventional effects, displaying not just a sense of humor but a playful and creative spirit akin to acts like Mouse on Mars and Like a Tim.
The album caters to fans of the “Flat Beat” sound with tracks like “Smoking Tape” and “Flat 55.” Yet, it also ventures into new territories, making “Analog Worms Attack” a delightful surprise for pop culture fans and serious music enthusiasts. Its inventiveness and Dupieux’s knack for blending genres make the album stand out in late-90s electronic music.
FUSE – Dimension Intrusion
Richie Hawtin’s “FUSE – Dimension Intrusion,” reissued and remastered, remains a pivotal acid and ambient techno masterpiece, epitomizing the ’90s techno zeitgeist.
As part of Warp Records’ influential Artificial Intelligence series, it stands shoulder-to-shoulder with works by AFX, Autechre, and B12. Hawtin’s FUSE persona explores a spectrum of techno, from hypnotic ambient soundscapes to pulsating acid beats, exemplified by tracks like “A New Day” and “Into the Space.” The album’s synthesis of Roland TR-909 rhythms and TB-303 acid lines creates iconic club tracks like “F.U.” and “Substance Abuse,” alongside electro-acid gems like “Downbeat” and the serene “Theychx.”
This reissue not only revives the nostalgia of ’90s techno but reaffirms the album’s status as a timeless, genre-defining work, offering both old fans and new listeners a refined, immersive auditory experience.
Messiah – 21st Century Jesus
Messiah’s ’21st Century Jesus’ emerges as a robust artifact of early ’90s techno, blending the frenetic energy of hardcore with diverse influences ranging from Lords of Acid to The Prodigy.
Known for its unapologetically loud and brash style, the album is a pulsating journey through high-energy beats and commanding diva vocals. Standout tracks like ‘Temple of Dreams’ brilliantly juxtapose the soothing vocals of Elizabeth Fraser against a backdrop of hard techno, showcasing a masterful contrast. The album’s maximalist approach pushes the boundaries of the genre, making it an exhilarating, though occasionally overwhelming, listen.
While it doesn’t revolutionize early ’90s techno, it stands out for its dance-frenzy vibes and its bold, maximalist interpretation of techno, making it a noteworthy and energetic addition to the era’s musical landscape.
Jega – Spectrum
Dylan Nathan’s ‘Spectrum’ emerges as a unique fusion of delicate melodies and complex percussion, echoing the pioneering work of early Rephlex icons such as Aphex Twin and µ-Ziq. The album traverses the dynamic landscape of ‘listening techno,’ marked by its clever blend of whimsy and sonic ingenuity. Standout tracks like the electrifying ‘NIA’ and ‘Manic Minor’ delve into the realm of drill’n’bass, while ‘Intron.ix’ and ‘Pitbull’ offer a deeper, moodier take with their drum’n’bass rhythms.
Nathan’s skill in electronic composition shines, particularly in the intricately woven textures of ‘Musical Chairz’ and the jazz-infused rhythms of ‘Red Mullet.’ ‘Spectrum’ not only nods to its influences but also carves out a distinctive niche, showcasing Nathan’s creative flair and technical mastery in the electronic music landscape.
