ABSTRACT
By 1996 a new zone of music making had emerged out of the ruins of "electronic listening music": a sort of post-rave omni-genre wherein techno's purity was "contaminated" by an influx of ideas from jungle, trip-hop, and other scenes. Not particularly danceable, yet too restlessly rhythmic and texturally startling to be ambient chill-out, this music might be dubbed art-techno, since the only appropriate listener response is a sort of fascinated contemplation. Imagine a museum dedicated not to the past but the future, where you marvel at the bizarre audio-sculptures.
