o9’s CHURCH OF THE GHETTO PC opens by taking IDM to a deep and thumpy place. The bass of “Terminal Red” reverberates like it’s in a cavern. “Terminal Orange” layers the synths almost as thickly as the rhythm, while “Terminal Yellow” drives forth like a freight train that rumbles on perhaps a little too long. But the bombast that marks the first half gives way to something a little more considered. A hint of emotion creeps its way onto “Terminal Blue,” and “Terminal Green” whirls with sound. “Terminal Silver” sounds almost Plaid-like. “Terminal Grey” brings back the heavy rhythm but with a melody that has a slightly Oriental feel. “Terminal White” has bright, clarion tones to contrast the thrumming underneath, and the final track, “Terminal Brown,” grinds chaotically, as if the machines have taken over. Too bad church isn’t always this exciting.

This record displays a truly astounding control over reference/influence/genrification/implication. o9 touches on, but never rests in, sounds almost recognizable, barely familiar, but as a whole, undeniably his.
beyond that, the stereo image is used compositionally consistently across the record in a way that adresses the speakers themselves - a postmodern self-awareness that goes beyond simulated depth or location.