Unless you're into music production yourself, this album (and most of Otto's work, in general) is probably not going to interest you; it'll sound like a bunch of random sounds sequenced by a monkey.

To the rest of us, though, this is a beautiful work of genius. As Otto's first major release, it nearly shattered me to hear it; his obvious mastery of the arrangement of the most unusual sounds ever is like having a circus full of smelly animals, social rejects, and disturbing machinery shoved into your ear. If you've seen any of Rob Zombie's movies, this is the soundtrack he meant to use on the scenes he wanted to make but couldn't translate to pictures and sound.

As far as the album goes, it all sounds the same unless you're intently listening to it all the way through (which is difficult to do unless you have the vinyl version and can look at the amazing gatefold cover art). Seriously, though, I treasure my Schirach albums almost as much for the art as for the music!

Sounds that caught my attention:
Mr. Soundwave's interspersion of words in various tracks
D3 - Insectdezyde Juice -> the bass-in-trunk vibration sample

While I realize the CD version definitely has these as played at 45rpm, I think both of these tracks sound much more intense and interesting when played at 33rpm. At the faster speed, they sound too jumbled and confused (yes, I know, this /is/ Autechre), and at the slower speed they just seem to open up more.

Either way, classic melodic Autechre sound from the late-90s, before they went off into the utter chaos (but in a good way, of course).

Yeesland is a deliciously organic track which begins with tapping that morphs into a delicious synth life-cycle that falls apart and dies at just the right time. Pencha is like the journey into the creature's afterlife; a feeding frenzy of countless other creatures that ends with the epilogue of nothingness, extinction

Clearly the best yet from Stewart; under his Machine Drum alias, at least. Extremely glitched-out hip-hop beats cut onto some of the most brilliant melodies I have ever heard. The mastery of rhythm and beats present here is simply the epitome of the direction in which Merck was headed during the early-2000's.

We begin with the ambient introduction of "Cream Soda Part 1" and the beautiful soundscape "Cream Soda Part 2", then cut into some of the best examples of glitch-hop in existence, including the phone-infected "Countchocula" and the blasted-in-your-face speedy cut-ups of "Realization". Next comes the hilarious samples of "Jigga Why", and the conclusion with "Kids World", which just simply could not have been topped as the choice for a conclusion.

All in all, this combination of wonderfully emotive leads and drums, which /never/ sound dull, makes this album one of my favorites of all time.

The first track, "Eluus", alone is worth this entire album, and the rest of the tracks herein are just as great! Overall, a very thematic and emotionally moving album. This progressive work is a perfect blend of dark and soothing atmospheres interspersed with driving, glitched out beats and funked-out rhythms that I've always attributed to Bola. There are a lot more ambient moments than I've heard in Fitton's other works; I'll even go as far as to say that this is his darkest album to date.
"Eluus" still comes back to me as the most memorable track on this album, and is my favorite Bola track of all time. Especially unforgettable is are the emotive violins that come in and back the segment from 3:30 to 6:02.

Nothing entirely unique here, as far as Wagon Christ is concerned; certainly a very inventive and well-constructed breakbeat record from Mr. Vibert.
The two A-side tracks are very jumpy and danceable and are based around a couple of samples on which the titles are based.
As far as the two B-sides are concerned, "Loose Loggins" is a contrasting downbeat work with a fluttering flute-like synth and organ stabs in the background, and "Deux Ans De Maia" is built around a latin-infused beat and features a high-pass filtered, disjointed synth lead that barely fits in, but I guess Luke's magic touch made it seem like it belongs.
Nothing spectacular; the A-sides would definitely work as part of a DJ set, though.

A very upbeat, thematic offering from DoF; it is full of guitars, orchestrations, and glitchy beats. "Ten Cities" especially caught my attention as it condones a sense of innocent childlike playfulness.
Certainly, this is the construction and playfulness of edIT's "Crying Over Pros For No Reason", combined with the melodies of childhood rhymes. It's not a distant nostalgic image, like Boards of Canada; it's more of a direct translation of the curious moments themselves.
Also, a wonderfully different beginning for Abandon Building Records; I can't wait to see what other new and unique things come from them.

An amazing album by Mr. Stewart! He provides a heaping portion of classical rythms (which I've never heard from him), glitchy progressions (Machinedrum-like editing), and amazing movements of sound. I'm reminded of Jaga Jazzist (A World Generated...), Four Tet (Jess), classic M3rck samples (Camp Lejune), and even a little of Mike Paradinas' humorous charm (No Fun King)!

This man has created some of the most memorable melodies I have heard in a long time. The wonderful flowing of the synth leads in the first five tracks are just so smooth and relaxing. The voice sample in Vindkode keeps me coming back to it's eclectic mixture of insane laughter, childish rythms, and circus ruckus. The jazzy flute riffs and hollow broken beats of Baronen Og Husset make me feel at one with the spirit that Jacob Madsen has instilled in his music. One of my favorite and most memorable albums of all time.

Reminiscent of Venetian Snare's work in the early 21st century (yet much more upbeat), it's a beautiful, sickening mashup of pitched samples and rolling beats; includes the high-end mastery of Com.A and the middle-space territory of Joseph Nothing. If we could just get these two to do something with Pole, we'd have the perfect mixture of chaotic-rythm-mastery throughout the entire sonic spectrum!

Joseph Nothing creates music which, in essence, combines the childlike and carefree rythms of Nobukazu Takemura, the creative humor and inside jokes of Aphex Twin, and the spontaneous variety of Ilkae. His style focuses less on layering instruments and sounds, and more on well-structured samples, many of which you can't help but smile after hearing. A delightful escape from the rigors of life, and an envelopment in joy; perfect music for celebrating an accomplishment.