In the 1990s, the world of electronic music was a frontier where the unimaginable often happened. These were the days of early Aphex Twin, Basic Channel, Autechre and many more pushing at the vanguard, challenging what we might even consider to be music. A golden time, Musique Concrète’s underlying principles were reborn for a chemically enhanced generation of clubbers.

One of the great problems with modern music criticism is that it hasn’t got past the models of the second half of the last century, and this leads to some very serious seeing-the-woods-for-the-trees oversights. In particular “we” still haven’t left behind the conception that a movement only exists if it has a moment: an Elvis on the Ed Sullivan show, a be-in at Haight Ashbury, a Sex Pistols at the 100 Club.