Given all the hype around m_nus I was extremly dissappointed with this release and found it hard to listen some tracks until the end. Most tracks are stripped down to 2 or 3 percussive elements that crawl the note scala up and down ("Circles" & "Uno") and that's about it the whole 5-6 minutes. I can't remember such extremly dull listening however I'll keep checking out other m_nus stuff and hopefully will find some more appealing music. I wish they would have some Theorem releases again as I find the collabs series on m_nus thx is some of the finest spheric minimal music ever created.

At first listen this album struck me as a little too far out there but I have to admit now that I've given it several listens it has grown on me. I'm a fan of minimal techno but for me, it has to be applicable to dancefloors. I don't buy albums full of random bleepy robot nonsense and then try to derive some deep (bullsh*t-ridden) meaning from it.

That being said, I find that a lot of the titles this triple pack are far enough away from absractness that they would be highly playable in an opening set. Tracks in particular that are suited for opening a dancefloor are Slacknoise, Heartthrob, Niederflur, Pheek, and possibly Magda.

When you play this kind of techno you have to be the right mood to hear it. To me its not something I'd get a kick listening to in the car. You need to be in dark, dirty atmosphere listening to this on BIG speakers. A lot of the beauty in these tracks is in their basslines. The basslines dig so low that unless you have a system in your car or at home you're not even going to know that they exist.

Another note, although I can't imagine a situation that I would play Hawtin's "Circles" to a live audience it really is a cool little piece of music.

This is so pointless, dull micro house, except Hawtin's track. Don't waste $ on this unless you're deep into senseless music. Don't know what did they mean by "minimize to maximize" ..this stuff can hardly maximize anything.

This unfortunately I found to be a rather flat release. Hawtin's track apart, it perhaps underlines the problems that seem to appear in the "Glitch/Micro House" scene far too often, in that there's no sense of fun or passion in these tracks. Whilst some explore some uncharted sonic areas, more often than not the same theme is repeated ad nauseaum. Mathew Jonson's track in particular seems to have none of the conviction that highlights his previous work.