Another impressive jazz album from the North Carolina band.

Many of these songs were so good that they should’ve been on Maladjusted instead of that album’s weaker tracks.

This is undoubtedly one of the best things to happen in 2000.

This is a very refreshing record.

Compared to other post-rock artists, there’s something surprisingly raw and brutal about Supercollider’s music.

While all of the songs are electronic in nature, they avoid falling into the normal trappings of your average dancehall fare.

There’s so much more substance here than anything produced by the average person alone in a basement doing electronically reconstructed jazz.

The whole disk is nice and airy, never a dissonant note for too long.

Pure contemplative magic.

This music is spirit glorified.

While it may be hip to be unknown and trendy to record for an independent label, you still have to make good music.

So for all you cats whose Portishead tapes popped as a result of repeated listens, slide this in and you won’t miss a beat.

This album represents what Hip Hop can be when a focused artist is given the right amount of time and space.

You’re left with an EP that sounds like nothing more than a bar band covering old ’80s classics.

Sounds like a Fugazi clone with a horn player and a strange sort of intensity that got lost in the translation.

Anyone who considers themselves a fan of World Serpent, Projekt, Cold Meat, or other similar labels would do themselves well to find a copy.

The best way to enjoy this disk is not really so much as a Low record, but as a relatively well-done compilation of electronic and ambient music.

An uneventful mix made up of mostly boring and pointless tracks.