Robert Hood ‎– Nighttime World Volume 2

M-Plant ‎– M-P318•CD
CD, Album

Tracklist Hide Credits

1 Black Hollywood 0:28
2 The Key To Midnight 3:04
3 Stepping Out 4:59
4 Desire 5:39
5 After Hours 6:02
6 Teflon 6:44
7 Formula Galore 7:10
8 Weight Of The World 5:11
9 Still 7:13
10 Untitled 6:05
11 Silent Hill 3:40
12 Darkroom 8:29
13 Peace (Closing Theme) 4:47
14 Blackness
Recorded By – Andy Toph*Written-By – Martin Luther King, Jr.*, Eunice Thompson-Hood, Gwendolyn Brooks

Companies, etc.



Recorded at M-Plant Studio-Detroit
except "Blackness" recorded at "The Disc" by Andy Toph [sic]

Booking information: contact M-Plant Booking, Eunice Thompson-Hood (248) 322-1837

©℗ 2000 M-Plant Music (BMI)

Released in standard jewel case with 4 pp. front insert.

Barcode and Other Identifiers

  • Barcode (Text): 6 50687 09722 2
  • Barcode: 650687097222
  • Matrix / Runout: DIGIDOC - ROM 10:9 CD03069-01
  • Mastering SID Code: IFPI LJ86
  • Rights Society: BMI

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July 22, 2008

Amazingly intense from its beginning to its end, 'Nighttime World Volume 2' easily can be called Robert Hood's masterpiece. It shows the amazing range of his musical talent. As already mentioned, Hood's focus clearly is set towards Jazz on this album. Still, this is as Techno as Jazz can get.

The interesting thing here is that Hood connects Techno and Jazz mainly through melody and arrangement. For most of the time, he wisely avoids the temptation of just throwing obviously jazzy sounding samples of real instruments and drums into his tracks, and the few times he does, as on 'The Key To Midnight', it makes sense and is on purpose.

However, synthetic instruments remain his first choice almost throughout the whole album. Synthetic brass sounds, synthetic pianos, synthetic drums - but it doesn't make things sound cheap for one moment, because you can hear it's a part of the concept. I believe that this is the reason why even straight minimal Techno tracks like 'Teflon' or 'Dark Room' seem perfectly in place between the variety of other styles this albums has to offer.

There are bassdrum-driven jazz hybrids like 'Stepping out' or the amazing 'Weight Of The World' which has some resemblances with Hood's later piece 'Who Taught You Math?' on Peacefrog. 'Desire', 'Still' and 'Peace' are close in both quality and depth to Neil Oliverra's releases under his Detroit Escalator Company moniker - beautiful, calm ambient tracks. 'After Hours' could be labeled as Future Jazz, while 'The Key To Midnight' and 'Untitled' tend towards jazz-inspired Hip Hop.

The album ends with 'Blackness' on which Robert Hood's wife Eunice gives an impressive and touching spoken-word performance that really makes you think.

I strongly hope that Mr. Hood will consider to give this album a second release sometime in the near future.

This one really, really deserves to be heard.


February 15, 2007
edited over 12 years ago
Totally agree with the above comment that an understanding of jazz would help in appreciating this album. The standout track for me is After Hours which can only be described as "jazz made with machines", with its crisp percussion, 'Real' sounding bass, deep moving keys and jazzy synth lines. Overall a great album with something for all tastes, be it Mr Hood's trademark minimalism, deep tech house and jazz inspired grooves.


March 16, 2005
edited over 14 years ago

This album must win the prize for the most under-rated electronic release of the last 10 years. One problem was that it did not get a UK release and was only relesed on Rob's own M-Plant label. Some people may have also been disappointed that it sounded nothing like early purist techno releases like 'Internal Empire' or even like the first Nighttime World album.

I think that in order to appreciate this album it helps to have some knowledge and love of Jazz becuase this is the album where Rob wears his love of Jazz on his sleeve. The history of black american music permeates every track but he maintains the techno sensibility throughout. It was an album he needed to make and I'm so glad he did.