The recently-broadcast excellent BBC2 documentary 'A Short history of Tall buildings' featured an episode on the development of the hi-rise in Britain. One of those pivotal to the program was Erno Goldfinger; the Hungarian born architect whose buildings include Alexander Fleming House in East London and (most infamously) Trelick Towers in West London.

But the most intriguing artefact he left behind was the house that he built for himself in Hampstead, North West London. Amusingly, it isn't a hi-rise, but is instead a magnificent testament to the mantra of form and function. If Goldfinger were alive today, he'd make fucking good techno.

Lineage to Drexciya will give some reason to purchase, but most will wonder what all the fuss is about. Fifteen, short snatches of metal-hued electro; exercises in rhythm data manipulation and variations of burning chrome melody.

The stop/start echo of 'Entrophic Decay' and the John Carpenter-esque 'Probability Densities'. 'Orbital Wavelengths' and 'Information Quanta' remind me of early Aphex Twin: drenched in that 'trapped in the machine' zither vibe. Can't say this is as immediate as their previous album ('Wireless Internet'). But stick with it and it'll yield results.

I can understand people who are into electronic music NOT liking Kraftwerk. The 'so-rigid-its-funky' approach to beats and their sometimes quaint, almost dated subject matter might seem a bit too twee for those brought up on DSP and hyperedits. Their vision of the future was utopian, whereas say the technological forecast of Detroit Techno was one of decay. ('Radioactivity' being the only obvious exception.)

But this Live Double CD should convert a few. All the classics being belted out at full motorik pelt in front audiences around the world. I'd be lying if i said that they delivered this 100% live; more playback with playful spontaneous tweaks. The highlight for me is the crowd singing along to 'Dentaku' in Tokyo. This just reinforces the mantra that electronic music starts and ends with Kraftwerk.

PS. I reviewed this whilst watching the NASA Shuttle repairs live webcast. I really thought i'd landed in the future.

'Rossz Csillag Allat Szuletett'....I mean, songs about pigeons? Hungarian Architecture? Did we really think that the undisputed master of tearaway breakcore had gone all conceptual? 'Meathole' violently and sickly resets you to the palette he's best known for. Pulverising jungle with a side over of pain and penury. Best demonstrated by the killer opening of 'Aanguish'.

Fun, messy, incoherent and seemingly made by someone with musical A.D.D., Parisian-native Jackson is the latest pupil to be inducted into the school of Warp. Jackson, at times, comes across as Aphex Twin meets the Art of Noise. Where samples that were in view at the time of composition are forcibly rammed into the mix.

This approach results in a jarring cacophony that can start to grate on repeat. But the sheer breadth of sound being hurled at you can't be ignored. Check out those orchestral stabs on 'Rock On' and 'Utopia'. Or the intoned-disco of ''Radio Caca', which sounds like a rollerball jam with Akufen.

Jackson: Midi Trigger Happy.

Seattle's Orac imprint have been quietly going about the business of releasing hi-quality, up-tempo, minimal dancefloor to the cognoscenti since 2001. Their back catalogue easily putting a lot like-minded labels to shame.

Whilst the title might suggest otherwise, this is actually Caro's debut album. A quirky, left-of-centre mix of subtle techno, slabs of molten acid and nods to disco. Opener 'Ah, ah, ah' sets the tones: playful sinewaves, pulses, bleeps to a slo-house shuffle. But 'Can't tell why' is the most heartfelt vocal-led acid-house tune you'll hear this year. 'My Little Castle' makes the 303 squiggle in ways that Roland never envisaged.