Funny Little Man is a dud, and only the first ‘Come to Daddy’ iteration is a real winner- but the rest here help make this an EP totally worth your time. Flim in particular is a late-90s AT indispensable

The cover would imply this must be the most snarling set of AT beats yet, but the selection here is resoundingly… scuzzy? Sure, there’s the occasional jarring drum break that can jolt you awake, but it seems there’s a very intentional dedication here to making a record you can groove *and* relax to, making it a synthesis of sorts

Most of the tracks here are decent if ultimately forgettable- I say ‘most’ bc the first Girl/Boy iteration and Milk Man are Aphex *essentials*

Befitting cover. Some of Aphex's least compromising offerings to this point, such as the ear-splitting Ventolin or bizarre moments such as Come On You Slags! And yet, the whole thing is still produced with an iron fist, unmistakably apparent on tracks like Alberto Basalm. A comparatively weaker LP from Aphex, but if anything it's just proof as to the bar set by his incredible ethic

Among the 'wackier' beats Aphex put out by this point- the bookends here in particular sound ditzy yet are astoundingly well-oiled

Though it's the second volume of the series, it's the first to really capitalize on the 'ambient' component of the name. A large slew of some of Aphex's most potently emotive production and soundscapes, while still featuring the occasional groove (albeit slooowww) and creeping, encroaching atmosphere. That's the Aphex-way, yo

Continues to trod the Aphex 90s EP series forward, striking as a slightly stronger offering than the prior installments, largely on account of that killer opener

Continues the theme of Aphex's early 90s EPs where the first track is jaw-dropping, and the rest is... impressive from a technical standpoint, to be sure. Just not so much of a 'groove'

Rigid and abrasive, even if the sonic palettes here aren't as 'palatable' as Aphex's other works to follow, they're still wholly impressive. The almighty Digeridoo is a weapon to behold

For my money, the peak of Wire’s powers- brooding maturity just sounds the best on the Punk outfit if you ask me. There’s still the core tenets of their brash + bold Punkishness to keep the record from ever feeling *too* dour, and the emphasis on atmosphere above all else (even the riffs!) makes for a wildly unique take on Punk, especially for the time. One of the most ahead-of-its-time Punk records in retrospect methinks

On Chairs Missing, Wire go for a more pointed approach compared to Pink Flag’s frenetic whirlwind style, though there’s still heaps of grit to go around. The dedication toward a darker, grimier sound help make the record more than just a bridge between Wire’s two best records

Who would’ve thunk that pumping the breaks on the bombastic pub rock/new wave approach would yield Costello’s best post-Model record? Well, the writing might’ve been on the wall given just how stale the sound had already become in the last few records alone, but the point stands that this acts as a pivot

Continues to be a downward plunge in quality from Armed Forces, and lacks a killer opener to boot

Accidents Will Happen is a stellar opener, but the remainder here is a stark slope-down from the quality of Costello’s prior two records. The bones are certainly here for a bouncy New Wave ride- but so much of the charm in My Aim Is True + This Year’s Model has seemingly vanished

Coming to full fruition with The Attractions, This Year’s Model reads as one of New Wave’s most essential and earliest masterworks. Limitlessly catchy and perpetually powering forward in a similar vein to Costello’s debut, there’s a bit more care taken this time around toward the instrumental side of things, making for New Wave forever-anthems such as Pump It Up. One of the best New Wave moments of the 70s

Ringing in the *New* Year with some *New* Wave- what else? Costello’s jubilant debut contains shades of Springsteen-esque avidity and McCartney-esque awe, but more than anything else contains a spirit of raucous rowdiness. Tracks like Blame It On Cain and I’m Not Angry feel appropriately biting while still reaching across the aisle for those afraid of a rocker, and ballads like Alison make for a perfect New Wave ballad in traditional form. A seriously confident debut

Hearing Self-Ignition for the first time after becoming so deeply ensconced and familiar with Berman’s work the past year is like discovering a letter from an old friend you’d somehow never read. It’s just how you remember. Proudly shed a tear or two (or several)

A sonic explosion that feels like a jammed intersection of countless ideas- ends up sounding like some sort of Frankenstein between Injury Reserve, Peggy, and a sheet (or two, or several) of acid. Trippy

Rachel Brown's deadpan delivery takes a bit of getting used to, but once that small hurdle is cleared you're left with a delightfully hypnotic and creative indie rock record that sounds both convicting and starkly detached

The opener is super solid but the rest of the record feels considerably more bland and uninspired, which is a shame as the group’s record from last year had a lot more charm