One of the main factors for shutting down Absorbobble was the sheer volume of music that was coming in. I'll sound like a right cunt saying this, but it rapidly became unmanageable and annoying. So i quickly learned to ignore it: records piled up, press releases filed away. I could totally relate to John Peel when he always fretted about the fact there weren't enough hours in the day to listen to all this.

But to listen and then try to write about it? No chance, not unless things were reduced down to soundbites. Granted, most of the stuff we got was utter nonsense, but there'd always be the hidden gem that you could boast to your mates about.

Well now that I have no mates and no records....

Mouse on Mars: Radical Connector (Sonig) - CD

How good are Mouse on Mars? Fuck knows where they get their ideas from or how they even go about cobbling it all together. With some musicians and bands, you could maybe work out how its done, but not with this lot. Fond memories of a jaw-dropping gig at the much missed Embassy Rooms in Tottenham Court Road (now a strip club for rich wankers) always surface whenever I hear them. 'Radical Connector' is also ace: Dodo Nkishi and Niobe on vocals add some jolts of pure pop amongst the brain-curdling beats. Best demonstrated by the amazing single 'Wipe That Sound'.

Kim Hiorthoy: For The Ladies (Smalltown Supersound) - CD

Although generally well-received by other people like us, I find 50% of his artwork self-indulgent. This album fell right into this category. An audio scrapbook, no narrative to speak of and no real value beyond the initial listen. Quiet for the most part, this explores environments and locations that are immediate to him. But I found this alien and disengaging.

Sophie Rimheden: H2-Fi - Hi-Fi Remixes (Mitek) - CD

Her 'Hi-Fi' album will eventually surface from the piles of plastic that sit to my right. In the meantime, this remix accompaniment only makes me eager to hear the originals. From warm, deep-house treatments to abstract, obtuse exercises in patch process. Dwayne Sodahberk's guitar shreds. Sophie's own eye-lash lined retro take. But best of all are the two servings by Differnet and Son of Clay. Her vocals lost somewhere in the slow refined descent into digital deconstruction. Mention must also go to the euro-rave effort by Puss. The cover art of pixel tapestry formulated by Angela Lorenz is equally stunning. Sehr cool, sehr clever.

Robag Wruhme: Wuzzelbud KK (Musik Krause) - LP

Kicking myself for not shouting about this at the time of its release, but this is possibly the best house album ever. No, really. The underlying, unspoken but agreed principles of click are all there but Gabor Schablitzki throws in all sorts of wonky extras. Moments of Aphex-scoured edits, tripped up vocals and tantalising bursts of lambent melody make for a stylistically messy 50 minutes.

But what a glorious mess! From the opening vocodered mantra of 'Hugendubel' to the motorik pelt of 'Mensur'. Bar the slightly odd and cheesy lounge stylings of 'Skrubbs', everything else here is a winner. Whilst you're at it, pick up the other thirteen releases on the label as well. Ace artwork too.

Si-Cut.DB: Offices At Night (Fallt) - CD

Accomplished, refined but ultimately quite dry examinations of digitally produced dub. Nothing really jumps out and grabs you, or maybe that's the whole point? Regardless, these passages in bass and delay stretch their ideas to breaking point. Smart editing might have helped, it could have made a killer EP. Only the 4/4 din of 'Slavic', the immediate 'Application' and title track hint at more agreeable territories. Seek out the far superior 'From Tears: Beach Archive' LP on Bip-Hop instead.