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Released on Danny ‘Legowelt’ Wolfers’ Strange Life label and produced by Stilleben boss Luke Eargoggle, the sublimely slow and inscrutable Bortom E4’s Horrisont – which may or may not be about chess – is a world away from the Dutch electro sound we all know and love. Not as great an album as Robyn’s 2005 effort, but worthy nonetheless.

That might seem like a slight, but when those singles are ‘Happy Without You’, ‘Always Too Late’, ‘Chewing Gum’ and the exemplary, euphoric ‘Heartbeat’ (love song of the decade? Probably) then they’re always going to stand out. ĭedicated to late boyfriend Tore Kroknes, Annie’s debut album was, in true pop fashion, all about the singles. But he also knows that true techno looks forward, not back – the past must first be confronted, and then cast aside. Techno will never be the same unquantifiable alien force that it was in the early 90s, and a spoken word interlude reminiscing wistfully about “true techno music” suggests Shed himself is well aware of this. But these melancholic passages of Shedding The Past are complemented beautifully by a number of full-heft dancefloor bombs: the rolling, positively locomotive ‘That Beats Everything!’ and especially ‘Another Wedged Chicken’, which finds Pawlowitz showing off his command of heavily swung, dubstep-influenced rhythms. Shedding The Past is a haunting record, as much an elegy for techno as an affirmation of its enduring and mutable power.įrom the windswept breakbeat of ‘Estrange’ and ‘ITHAW’ to the ambient exhalation of ‘Ostrich-Mountain-Square’, producer Rene Pawlowitz is at his best in reflective mode. And yet, on the strength of Alkan’s neon-filtered production and Late of the Pier’s unbelievable knack for hooks and melodies, Fantasy Black Channel succeeded, even managing to sound like Oasis’ ‘Live Forever’ (on ‘Random Furl’) and still be good. Nottingham glam rock, made by four teenagers dressed like Quality Street packets and produced by Erol Alkan – God this album was set up for a fall. To this day none have done so with anything like the aplomb of The Parallax Corporation. In its wake innumerable artists – from the dance underground to the pop charts – plundered 80s synth-pop, electro and disco for inspiration. And we’ll try not to use the word ‘noughties’ too much.Ī co-production between Dutch italo-fetishists I-f and Intergalactic Gary, the slyly humorous, irascibly funky Cocadisco introduced us to a whole new world of alternative electronic music. Still, we’re happy with the results.Įvery day this week, we’ll publish twenty of our top 100: starting with 100-80 today, and ending with the final 20 on Friday. Along with other great contenders like At the Drive-in’s Relationship of Command, Superpitcher’s Here Comes Love, Jim O’Rourke’s I’m Happy… and Kate Bush’s Aerial, they fell by the wayside.

Neither Black nor Grey made that top 100.

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Tellingly, two of the albums in our final top 100 were free CDs given away with other products. Others, like Dangermouse’s The Grey Album, were home-made success stories that reflected the changing tides in the way people chose to consume and react to music. Some, like Jay-Z’s The Black Album, emerged on major labels backed by money-spinning promotion campaigns. However, with more opportunities to Do It Yourself than ever before, great albums arrived in their droves. In a decade where music listeners moved away from albums en masse, and towards downloadable tracks and podcasts, there was perhaps less emphasis on the musical long-player than at any period since the 1960s.