Music

Six tracks in twenty-five minutes: fractured breakbeats, distorted texture and a lot of low-end pressure. Orens has worked with Max Cooper, and it shows in how much room the sound design gets.

The fourth and last Daft Punk record, recorded over four years with session players instead of samplers — Nile Rodgers, Giorgio Moroder and a live rhythm section in place of the machines.

The third record, and the one where the band dropped nu metal for something closer to straight rock. Named after the Doomsday Clock reading of that year.

Tobin’s sixth record, built from field recordings of everyday objects and animals instead of crate digging — the sources are processed until you cannot hear what they were. The name comes from the foley studio, where film sound is made the same way.

The second Boards of Canada album, darker than the first and stuffed with backmasked voices, numbers and cult references buried in the mix.

Recorded over three years while the game was being built, and shipped with the Collector’s Edition. The Tristram guitar is the part everyone remembers.

The debut on Warp: detuned tape loops, half-heard children’s voices and the sound of a documentary you cannot quite place. Everything the duo did after starts here.

The second Prodigy record, written as rave was being legislated out of existence in Britain — the Criminal Justice Bill runs right through it, down to the track named after a sound system. Breakbeat hardcore before the band turned into a rock act.

The debut, assembled from cassette recordings James started making at thirteen. Ambient techno before the genre had a name to give it.