Yeah, they sacked me from the Ministry of Sound, and I quote: “Because I smoked too much weed” – sorry – “and my music was too good.” How could anyone? Sorry, guy, we’re sacking you because you’re too good. I’m like, that really make sense guys, see ya.
-Giggles from DJ Harvey
Apologies for the delay, but doing a round-up of the year’s most intriguing reissues is increasingly a time-consuming task, one that might have robbed me of much of a desire to do an album round-up. And for as much as I love all the records I’ve included below, I could have easily doubled the number of records, making this summary feel almost arbitrary (it’s not, but still….) I’m going to do something super annoying and publish the WIP list as that tends to be a solid motivator to get the blurbage done. So yeah, Part One and Part Two of my singles coverage can be found at the other side of those hyperlinks with past installments below. Cool, let’s do this.
(Work in progress, been more of a slog than usual as of late)
Brian Bennett & Alan Hawkshaw – Synthesis (KPM Music/Be With Records 1974/2018)
A. Hawkshaw / B. Bennett - Synthesizer And Percussion (KPM Music/Be With Records 1974/2018)
Considering how much certain library records can command on the second-hand market, it’s felt like a foregone conclusion for a while now that a proper library music reissue campaign would be in the offing. In 2018, the insurgent Be With Records initiated a ten-record reissue series that focused on the KPM and Themes International Music labels with a focus on the prodigious talents of Hawkshaw and Bennett. Really, all ten records are worth scoping if you never have, but for me, the picks of the litter are the hot Moog funk of Synthesis and Synthesizer and Percussion.
The Pawnshop - The Pawnshop (Four Flies Records 2018)
Italy’s Four Flies Records specializes in reissuing gems from the country’s storied library music history from the sixties and seventies and in 2018, they released an absolutely doozy in the form of Giuliano Sorgini, Alessandro Alessandroni, and Giulia De Mutiis’ avant-psych supergroup The Pawnshop.
Ersnt Thoma - Modern Tracks (Orbeatize 2018)
Conrad Praetzel – Paleo Music 1987-1998 (Orbeatize 2018)
Walter Whitney – Composer X (Multiphase/Orbeatize 1983/2018)
Jolly Mare - Logica Natura (Orbeatize 2018)
Joel Horwitz - The Planets (Orbeatize 2018)
Michel Nolet - Electronic, Absolutely (Orbeatize 2018)
With so many excellent reissue labels in existence today, it can at times feel like every obscure corner of music history has been upturned, all of it rendered accessible and purchasable. Of course, there are always hidden gems to be found and following in the giant steps of the Mutant Sounds blog, Cesare Barbetta’s Box of Toys site is a constant source of unknown cosmic wonders. In 2017, Barbetta started the wildy prolific Orbeatrize label from his homebase of Lecce, Italy and in just two years, the label has already issued twenty-one essential documents, many of which are just now getting a proper vinyl pressing. Personally, I was unfamiliar with Barbetta’s work until he released the synthesized rhythm experiments of Ernst Thoma’s Modern Tracks (Thoma’s work as TV-Totem has also been reissued by the label). Since then, I’ve spent a lot of time taking in the rapidly expanding Orbeatrize catalog and goddamn, Barbetta does not fuck around.
Takehisa Kosugi - Catch-Wave (CBS/Sony/Superior Viaduct 1975/2018)
Raul Lovisoni / Francesco Messina - Prati Bagnati Del Monte Analogo (Cramps Records/Superior Viaduct 1979/2018)
Phill Niblock, Joseph Celli – Niblock For Celli / Celli Plays Niblock (India Navigation/Superior Viaduct 1984/2018)
Scientist - In The Kingdom Of Dub (Kingdom Records/Superior Viaduct 1981/2018)
John Bender - Pop Surgery (Record Sluts/Superior Viaduct 1983/2018)
Remko Scha - Machine Guitars (Kremlin/États-Unis 1982/2018)
Shawty Pimp - ...Still Comin' Real (Gyptology Records 1995/2018)
The underground rap scene in Memphis starting in the 80s and reaching its arguable peak in the 90s—though there has been plenty to admire from the 00s and 10s—is a rich and deep pool of genius. Whether you live to buck or not, the scene employed a unique downtempo rhythmic structure that leant itself to a wide variety of permutations, from the proto-horrorcore of Tommy Wright III and Triple Six to one-time Wright associate Shawty Pimp’s funk-soaked sound. For those who don’t have the cash to throw down for the original cassettes, the growing number of vinyl reissues is a boon to music fans everywhere. Still Comin’ Real was released in 1995 and was the follow-up to Pimp’s Comin’ Real, which was pressed to vinyl in 2014 by Delroy Edwards’ L.A. Club Resource imprint, selling out in mere days.
Susumu Yokota - Acid Mt.Fuji = 赤富士 (Sublime Records/Midgar 1994/2018)
Fuuuuuuck yes, have I been waiting for this release for too long. Due to my high school love affair with the Leaf label, I've been quite happy to hear the number of friends and folk online who have since discovered his masterful 2002 ambient opus The Boy And The Tree, a record that went from .a loykey cult classic to canonical in the past five years. Eight years prior to that album, he released his second album on CD, the tribal ambient techno of Acid Mt. Fuji. Much like Ken Ishii's 1993 debut Garden On The Palm, listening to either album in 2018 is nothing short of a trip through time and space. Where Garden's wiggling, squirrely techno still sounds like nothing else, it's funny to think of the number of albums Acid Mt. Fuji both directly and indirectly inspired.
Last year, I read a book called Ambient Media: Japanese Atmospheres of Self, a book that takes as its focus the Japanese fixation with ambient music as it arose from the country's embracing of Erik Satie's "musical furniture." Much of the book's first half is dedicated to exploring the history of ambient or environmental music through the country's department stores and a trio of legendary ambient artists, Haruomi Hosono, Tetsu Inoue, and Chihei Hatakeyama. Missing from that discussion is undoubtedly Yakoto as he succeeded in creating a more rhythmically streamlined form of ambient, one that didn't ignore the dance floor from which he drew inspiration. Where opener "Zenmai" calls to mind an ad hoc tribal ritual, tracks like "Meijijingu" use a 4x4 pulse to explore sonic terrain largely ignored by more functionalist-minded producers. It's a varied album, moving from spiritualist drones to realized fourth world daydreams and so much more. Looking to the mountain that provides the album with its title and cover art, so monolithic and imposing, Yakoto's album is tantamount to a sonic re-mapping of this hulking protrusion comprised of rock and earth. Whether it's tracing the mountain's infinite ridges or delving deep into its inner sanctum, the producer succeeds in creating music that not only creates an environment but recreates it in all its complexity and nuance. Seriously, I forgot how much this album has been missing from my life and can't recommend it enough.
Laurie Spiegel - The Expanding Universe (Philo/Unseen Worlds 1980/2018)
Laurie Spiegel, Don Christensen - Donnie and Laurie / Patchwork (Unseen Worlds 2018)
Carl Stone - Electronic Music from the 80s and 90s (Unseen Worlds 2018)
Eliane Radigue - Œuvres Électroniques (INA-GRM 2018)
Eliane Radigue - Geelriandre - Arthesis (Fringes Recordings/Important Records 2003/2018)
Laurie Spiegel and Eliane Radigue changed my life. I first encountered the former in my early twenties when a growing interest in electronic music led me to check out OHM: The Early Gurus Of Electronic Music (1948-1980), which contains Spiegel’s “Appalachian Grove I.” That piece’s kaleidoscopic melodies still elicits an unhinged jaw when I listen to it today, but back when I first heard it over a decade ago, it was something of a musical come-to-jesus moment for me as it revealed a whole cosmos of musical ideas and technology unlike anything I had found in combing the marginalia of experimental rock. In 2012, I first learned of Tommy McCutchon’s Unseen Worlds label when it released a truncated single LP edition of Spiegel’s landmark The Expanding Universe without any of the three pieces that compose “Grove.” It says a lot about my deep respect for the label and love for that album that when it was announced that we would finally get a 3xLP edition of Expanding Universe in full I only felt only the slightest pang of annoyance and that stemmed mostly from the fact that I knew I wouldn’t have the cashish to procure the reissue. That feeling of longing was likely heightened by not being able to contribute to the label’s tenth anniversary drive that saw them releasing the obscure synth raga-disco track of Spiegel’s eponymous collaboration with Don Spiegel, “Donnie and Laurie,” which came backed with an alternate version of Expanding Universe cut “Patchwork.” Alas, unrequited longing is part and parcel of being a ravenous vinyl collector in the 2010s as only the genuinely wealthy are able to indulge all of their musical desires. And hey, at least I was able to get the label’s second collection of Carl Stone recordings taken from the 80s and 90s following the first installment they released back in 2016 and it was a doozie, ranging from the siren drones of “Banteay Srey” to the proto-sampledelia of “Mae Yao.” Yet another banner year for a banner label.
When it comes to Radigue, my adoration of her music is considerably more melancholy as I’ve found myself first discovering her genius via the epic spiritualism of Trilogie De La Mort following a death of a friend back in 2007 and leaning on an inherited vinyl edition ofFeedback Works in 2012 after another friend’s passing that upturned my life in a way I’m still coming back from. Despite my morose circumstances, Radigue’s music works just as well in moments of ecstatic euphoria and diurnal banality as it does during moments of tragedy and 2018 saw INA-GRM giving her a long-overdue and extended spotlight with the fourteen-disc Electric Works assembling many of her greatest hits, including Mort , Adnos I-III, Ψ 847 (Version Concert), and Jetsun Mila. And while that collection was the undeniable highlight as far as the year in Radigue goes, the ever-essential Important Records did us all a favor last month when they pressed a much-needed vinyl edition the composer’s 2003 haunted “Geelriandre” and the modular moans of “Arthesis.”
Vainquer - Reductions 1995-1997 (Scion Versions 2018)
Loscil - Submers (Kranky 2002/2018)
Listening to dub techno can often feel like listening to the sound of magic. Much like dub itself, dub techno is the sound of making the most with the bare essentials, applying a scientific understanding of echo, delay, and reverb to create music that hijacks one’s mind and body, stupefying rationality and breaking down inhibition. With Basic Channel’s label celebrating its twenty-fifth anniversary in 2018, it felt only fitting that one of the stars of the Chain Reaction label would collect six tracks recorded between 1995 and 1997 and press them at forty-five across six discs, including a handful of tracks that has never appeared on wax before and the previously unreleased mid-air dub acrobatics of “Antistatic II.”
Representing a wholly different dub techno tradition, Canada’s Loscil has been a fixture of the Chicago-based
Kranky since 2001 and in recent years, the label has been doing us all a favor by reissuing his early catalog to vinyl for the first time. I came across 2002’s Submers whilst still in college and although I didn’t realize it at the time, that record was my first album-length exposure to dub techno. Of course, Submers is anything but traditionalist and its wide-ranging BPMs and varied beats marks it as superficially sharing more in common with post-rock than then Chain Reaction or Basic Channel. But one listen to the bucolic bubbles emanating from opener “Argonaut I” will signal that Loscil was interested in using a dub techno sound palette to decidedly non-dance floor-focused ends. An album inspired by underwater mythology, Submers surrounds the listener in an infinite, amniotic sound bath with the sequencing suggesting a downward (or is it upward) trajectory into the dark recesses of the ocean, closing with the beatless joy of “Triton” and the Arvo Pärt-like solemnity of “Kursk.” And while Vainqeuer and Loscil represent different phases in the evolution of dub techno, what they share is their ability to craft music that rewards countless listens, each record sounding as good, if not better, when they were first released.
Various - 3AM Spares (Efficient Space 2018)
Australia’s Efficient Space label has made a name for itself with a series of exceptional compilations that turns to the archives of the continent’s musical history to curate thematically-linked yet wildly disparate collections like Sky Girl or the genre-focused Midnite Spares and Oz Waves. On 3AM Spares, Andras and Instant Peterson construct a temporal sequel to Midnite Spares to look at the period in which Australian dance music moved from “beer barns and back rooms” to outdoor raves and warehouses while re-interpreting American and European dance music through a distinctively antipodean sensibility. Collected from locally-released twelve-inches, CDRs, and community radio archives, part of what makes 3AM Spares so special is that it manages to capture the wide berth and disparate facets of dance music from the 90s and later, from the populist pleasure of FSOM’s “Resist The Beat” to the impossibly queer seduction of General Electrik Meets Andy Rantzen’s “Leather Lover.”
No Smoke - International Smoke Signal (Warriors Dance 1990/2018)
Smith & Mighty - Ashley Road Sessions 88-94 (Punch Drunk/Tectonic Recordings 2018)
As past visitors to this site have surely clocked, 2018 was the year in which my obsession with understanding what the hardcore continuum was and what it has become reached a boiling point, leading me to step back from a planned series of essays to continue digging deeper into the cracks. Seriously, it’s kind of wild how inspiring I find the nuum—big ups this tune—and us novice nuum scholars got two serious gifts this past fall that were boons in better understanding the many influences that were intersecting through hardcore.
Pablo's Eye - Bardo For Pablo (STROOM 〰 2018)
Patrick Selinger - Businessmen (STROOM 〰 2018)
Jason Kolàr - Modified Perspectives (STROOM 〰 2018)
Ingus Baušķenieks - Spoki (STROOM 〰 2018)
Annelies Monseré - Happiness Is Within Sight (STROOM 〰 2018)
Is Belgian label STROOM 〰 on fucking fire or what?! Since first appearing on my radar with their inaugural release, a lush of the Jan Zonder Vrees OST, the label followed up those nutso NDSR and Cybe platters with a dizzying selection for 2018.
Eblen Macari - Música Para Planetarios (Séance Centre 2018)
Philip Sanderson - On One Of These Bends (Séance Centre 2018)
Joanne Forman - Cave Vaults Of The Moon (Séance Centre 2018)
Rex Ilusivii – Selected Works (Versatile Records 2018)
Suba - Wayang (Offen Music 1995/2018)
I was wholly unfamiliar with the work of Mitar Subotić prior to 2018, a Serbian-born composer whose early interest in electronic and ambient music and omnivorous musical taste has given his prolific body of work that dubious distinction of being assuredly ahead of its time. The past few years has seen a number of his albums given much-needed vinyl pressings as well as many of his more than 500 pieces compiled and 2018 saw two more essential collections emerge. Having moved to Brazil in 1990 where he remained until his untimely death in 1999, Wayang is a humid collection taken from the composer’s time in the country that moves from downtempo groovers to percussive d’n’b with much more terrain covered in between. I’m' less clear as to when exactlySelected Works is taken from as the collection zigs and zags from the techno-friendly bump of “Forced March” to “Plavobradi’s” folkloric jaunt and the rapturous, cinematic ambience of closer “Dream.” Two of the more intriguing questions raised by Suba’s catalog is how much his training and self-identification as a composer disposed him to a distinctly post-genre mentality and whether contemporary listeners are more inclined to appreciate the wide net he cast during his career. Either way, we all stand to benefit from the continued archival efforts focused on bringing his discography to a wider audience.
Various – Club Meduse (Spacetalk Records 2018)
Cabaret Du Ciel - Skies in the Mirror (Ionisation Tapes/Hybride Sentimento 1992/2018)
Various – Technicolor Paradise: Rhum Rhapsodies & Other Exotic Delights (Numero Group 2018)
Spontaneous Overthrow - All About Money (New-Ark Records Inc./Numero Group 1984/2018)
Laraaji - Vision Songs - Vol. I (Self-Released/Numero Group 1984/2018)
Happy Rhodes - Ectotrophia (Numero Group 2018)
Various - Switched-On Eugene (Numero Group 2018)
Having been in existence for sixteen years now, Chicago’s Numero Group label seems to widen its remit with each passing year, fascinated by a period of music history that has diminished in the wake of the Web 2.0. While regionalism will never go away, as people are able to seek out others based on shared interests online rather than the facticity of a shared geography, the provincial haecceities that were once part and parcel of any scene appear increasingly quaint with each passing year. In 2018, Numero continued to build upon its catalog by increasingly looking at those solitary operators who were intent on doing their own thing without much in the way of a larger immediate community, be it the New Age outliers of Laraaji’s 1984 self-released cassetteVision Song, the broken R&B/funk of Newark’s Spontaneous Overthrow, or the baroque dream pop of upper-state New York’s Kimberley Tyler Rhodes (who records as Happy Rhodes). Admittedly, Rhodes’ music isn’t exactly in my wheelhouse, but that doesn’t mean I don’t highly recommend checking out the brilliant collection Ectrophia that cherrypicks from her twenty-five-year career as it’s one of the most astonishing records I heard all year. Of course, Numero’s strength has always laid in highlighting local scenes that time has forgotten and the cassette-sourced compendium of auteur synthscapes and wave-adjacent compositions collected from Eugenes, Oregon’s thriving scene in the 80s was particularly eye-opening, containing avant-pop masterpieces like Suse Millemann’s “Patterns.” With over two dozen records released in 2018, there is plenty I’m overlooking in this quick round-up and as always, those who take the time to parse through another busy year for the label will wake away with their minds blown.
Onyx – Complete Works 1981–1983 (Mind Records 2018)
I threw my arms up when I came across the Mind Records-released compilation of early 80s post-punk dance duo Onyx. A pairing between the Boston-based musician Judd Stone and British vocalist Beveur, they released just two seven inches on their own Nu-Age Records. With a muscular and minimalist sound of just drums and synths, which sounds not unlike a band that might have influenced nineties math-funk darlings Trans Am, the seven-minute-long “Robot World” is a masterclass in dancefloor-informed rock music. It makes the most of mixing board artistry with Beveur’s just-interested-enough vocals sending the whole thing through the stratosphere. RIPPER.
Sleepy’s Theme - The Vinyl Room (Bang II Records/Be With Records 1998/2018)
If you’re like me and quite enjoyed that Netflix doc on Atlanta’s Organized Noize, then you’ll be more than stoked on this reissue from Be With Records of Sleepy Brown’s post-Aquemeni opus of 90s soul music, The Vinyl Room by his Sleepys Theme quartet. Boasting a hefty, neck-snapping beat and vaporous synths, “Choked Out Saturday Night” is an album highlight that pairs interlocking male-and-female vocal exchanges with a Saturday night parlor room party vibe for maximal chilled-out ebullience.
Jess Sah Bi & Peter One - Our Garden Needs Its Flowers (Dedjay Broadcasting System/Awesome Tapes From Africa 1985/2018)
Troupe Ecole Tudu - Oyiwane (Sahel Sounds 1985/2018)
Bernard Parmegiani – Les Soleils De L'Île De Pâques | La Brûlure De Mille Soleils (We Release Whatever The Fuck We Want Records 2018)
Bernard Parmegiani - Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990)) (Transversales Disques 2018)
François Bayle – Erosphère (Tremblement De Terre Très Doux / Toupie Dans Le Ciel) (INA-GRM/Recollection GRM 2018)
François Bayle - Electrucs ! (Transversales Disques 2018)
Christian Zanési - Grand Bruit/Stop ! L’horizon (INA-GRM/Recollection GRM 2018)
François De Roubaix - Le Saut De L'Ange / RAS (Crosswise Discs 2018)
François De Roubaix - Daughters Of Darkness - The Red Lips (Original Soundtrack) (Music On Vinyl 2018)
The reissue arm of France’s Rue de Plaisance label collected eight tracks from American producer Brian Cavender’s previous releases on Guidance, Straylight, and Lo-Rise Recordings that were issued between the years 1999 and 2005 for the Collected Works package, further shoring up the producer’s vaunted profile and inadvertently demonstrating how imitative so much of today’s dance music tends to be. From an ample use of breakbeats to disembodied vocal accents and woozy chords, Collected Works is very much a product of its era while feeling remarkably fresh, the tracks being recorded when house music was waning considerably following an unparalleled boom period. From the brisk euphoria of tracks like “Deaf Child” or “Thrill Ride” to the Timbaland funk of “Spinning Heads,” Cavender’s output has long been impressively consistent and Collected Works helps to fill in the outline for fans while presenting an inviting entry point for new listeners.
Transllusion - A Moment Of Insanity (Clone Aqualung Series 2018)
Heinrich Mueller - False Vacuum (WéMè Records 2018)
Drexciya - Neptune’s Lair (Tresor 1999/2018)
Alongside “no repress, warehouse find,” “lost DAT tapes” has become record seller shorthand to indicate a release has come from a more halcyon period of dance music before hard disk recording and memory cards further lowered the barrier of entry, allowing producers of all stripes and backgrounds to archive recordings at a comparable quality (I’m not the most knowledgeable about music technology so please forgive any amateurish misstatements). I find myself reading and thinking a lot about how recording technology used to act as quality control in a sense as there are plenty of contemporary producers who would likely have thought twice about releasing a record if they had to invest a considerable amount of money. And don’t get me wrong, I’m all about the democratization of electronic music. But it’s still fascinating to think about what Friedrich Kittler would call the historical a priori of analog and early digital recording technology and how we as consumers seem to instinctively lend more credence to material that required a certain financial sacrifice on the part of the producer, directly shaping what actually saw the light of day. Of course, although today’s technology plays a less deterministic role, it’s still curious to watch how we seem to attach a certain mysticism to recordings sourced from digital audio tapes.
There were plenty of records released in 2018 that were sourced from established producers’ older recordings, tracks that were perhaps not originally intended for release but determined to be of a certain quality that suggests the belief that an older producer’s B material is still more inspired than much of what is being made today. Following on from last year’s Jack People’s collection, Clone’s Aqualung Series continues to widen the back catalog of Drexciya’s James Stinson, a testament to the religious-like zeal that fans have for his music. His Transllusion alias has always been a favorite of mine for its ability to subvert conventions while pushing into unquestionably psychedelic territory. Although we might not know what Stinson thought of the four “Moments” that make up A Moment of Insanity and must question whether he would have ever approved their release, the EP is yet another testament to his singular abilities and thus a welcome collection. Occupying the more maximalist end of his varied production style, A Moment speaks to his unimpeachable funkiness, each track constructed atop rather simple electro-styled beats to seemingly amplify the rich and florid sonics he could conjure while retaining a live sensibility that makes his Transllusion material sound like it was created by a band of robotic aliens on the fritz. “Moment 1” is constructed atop an epically circular set of chords and “Moment 3” is wildly dramatic, sounding like the soundtrack to a hovercraft chase in a distant galaxy, each track possessing its own cosmology of sound and a distinctive narrative, simply bursting at the seams with ideas. Meanwhile, Wémè Records teamed up with Drexciya Research Lab to collect nine remixes (out of many more) created by Stinson’s bandmate Gerald Donald under his Heinrich Mueller and while they have all been floating around for years, having them collected on a double vinyl pressing was a boon to fans everywhere. Lastly, for those who didn’t pick up Neptune’s Lair the first time around or in 2010 when it was last re-pressed, Tresor did you all a favor by once again reissuing Drexciya’s miraculous Neptune’s Lair on vinyl, so get on it if you haven’t. Essential no matter what the context.
Juan Atkins - Dimensions (Life’s Good 1992/2018)
Jeff Mills - Waveform Transmission Vol. 3 (Tresor 1994/2018)
Infiniti - Skynet (Tresor 1998/2018)
It’s funny; one thing I often think about when I get thinking big-picture about my love for dance music is that by coming to dance music out of indie rock in the mid-00s, I was able to bypass much of the 90s dance music media hype about Detroit. Being whatever the opposite of a hypebeast is, I’ve always been wary of sacred cows and thus, while sure, I would have loved to have been able to experience all those 90s dance music cliches firsthand, I feel like I’ve been able to construct my own mythos outside of much in the way of media interference. Of course, it’s hard to get into dance music and not start with Detroit (and Chicago and NYC) but still, I am glad my first experience with Detroit techno was through hearing it, not by reading it. Whether it’s first wave, second wave, third wave or whatever wave we’re on today, for me Detroit dance music has a spiritual liveness to it that you simply don’t hear in other cities’ dance music—and sure, this is a mad contestable opinion and one that changes often for me. More than anything, I find so much music from Detroit downright inspiring in a way that does feel unique to the city and thus, I’m always a prime sucker for any Detroit-centric reissues that aren’t already in my collection. In late 2018, Tresor began a reissue campaign of a number of classic albums from the likes of Drexciya, Robert Hood, Jeff Mills, and Juan Atkins’ Infiniti project that is still unfolding.
In addition to Neptune’s Lair which I of course included in the Drexciya section of this round-up, so far Mills’ massive Waveform Transmission Vol. 3 and Infiniti’s Skynet have hit the streets stateside and if you’re like me and hadn’t listened to either record in over a decade, re-experiencing both was nothing short of mind-blowing. One of the most striking aspects of Skynet is how it’s full of fleeting ideas that other artists have seemingly built their entire careers upon. For example, it’s hard not to hear the detached baritone cascading about “Postcard From The Future” and not think of Matthew Dear. Each of the ten tracks on hand is at once stuffed to the gills yet retains a croissant-like airiness that begs to be listened to again and again, something shared with the two tracks included on Life’s Good’s Dimensions twelve-inch package. Boasting a Russel Haswell digital restoration and re-cut by Rashad Becker at forty-five, the title track features lively breakbeats and silky pads and comes courtesy the Panic In Detroit compilation. The B-side cut “Flash Flood” is taken from 1995’s Magic Tracks. and is all twinkling, snowy chords and jacking drums. Where Atkin’s 90s productions are flakey, buttery delights, Mills’ 1994 package is like eating a loaf bread chased down with all the Guinness, each of the eight tracks moving at light-speed and barely holding it all together before the next onslaught starts (see: the machine flame-out at the tail end of “Workers”).