Even after all this time, people still haven't realised this track is called RIP Groove...

I disagree with anyone who says this album is hard to get into. OK, there may be the odd couple of seconds between some bars filled with glitch and groans before the beat comes back, but other than that, this album is completely beat-driven. The first two tracks serve as an eerie intro and on first listen, it sounds like a very dark album like Confield. However when 61e.CR drops the hip-hop/old-skool electro bloodline that Autechre carry comes though so prominently; it's almost impossible not to bop your head throughout the rest of the LP.

The vast majority of the tracks are 4/4 (which Autechre prove isn't always a bad thing,) hold bouncy melodies and basslines, making them "accessible" for even anti-breakbeat purists. Despite this, the innovation is not lost, with leads, rumbles and pads made from industrial groans, electronic percussion and sounds oscillated so fast that they sound like a single synth drone.

This album is almost a marriage between the looped breaks of their early 1990s releases and the new direction the group took circa 2000. Because of this, I would recommend anyone wishing to find out what Autechre are all about should listen to this LP before anything else.

Confield: Autechre and broken beat music at the highest level.

You have never heard anything like this before. It's like letting a computer loose to make beats. The idea that a computer has no emotion. Just twisted genius. There's angry music, but I've never heard anything so cold and dark before. It really is nasty and has no soul, but at the same time there's a warped beauty about Confield. (Notably on Cfern.)

No hooks or structure to the majority of the tracks. Percussion that can seem totally random, although each track does actually keep to its time signature. Formless and very minimal melody, just swirling, growling moans and digital glitches. For these reasons, most listeners can't grasp the concept of this LP.

It's been said that Confield is an album to respect but not enjoy. I think anyone who is open enough will love it. It leads you everywhere and nowhere at the same time. An album I personally could never get bored of listening to.

This EP would probably fall into mediocrity if not for "Mutated X"; an absolute Amen slammer.
Listen out for a sly and very subtle take on T-Power & MK Ultra's "Mutant Jazz", hence the name.

The most copied drum break in the history of the world!
This track is still an anthem and contibuted significantly to the progression of drum and bass.

One of the top ten dnb tracks ever.

The greatest drum and bass 12" ever created? Well it's up there right with Roni Size's 26 Bass/Snapshot. Absolutely amazing stuff once again. Such an important milestone in the development of the genre puts it up in the top ten most important drum and bass plates ever.

Less is certainly more! Such simple drum beats and repetitive basslines get you humming for hours. Definitely for all the futuristic drum and bass fans only though - no cheesy vocals and melodies for all you Fabio fans.

Check out key track "Glass Eye" and have nightmares for weeks after.

Now defunct label created by the inconsistent but sometimes genius boys - the key man being Fresh (aka Dan Stein).

Much greater releases on other labels e.g. The Pulse (Prototype Recordings) or Spacehopper (Ram Records), but The Nine, Rush Hour and Dogs on the Moon are classics.

This track is SICK to the bone!! Just listening to this track gets me hyper - I just wanna dance. Jonny L doesn't release too much but when he does......

Todd Edwards is completely original. He uses "cut up" vocals to create a melody along with some other samples, then adds a bouncy bassline to get those feet movin'! People like Qualifide have tried to copy him but he can't be matched. Todd, Armand and Tuff Jam created UK Garage and deserve more respect.