Admittedly one of those albums I bought at the time but didn't really listen to as such was Silent Phase's 'The Theory of'. Purchased because everyone in my circle of friends that worshipped at the altar of the 'Motor City' did so. A joint release by Transmat and R&S in 1995, Silent Phase was one of the alter-ego's employed by second-wave Detroit techno artist Stacey Pullen.

I always aligned him with other black artists such as Kenny Larkin, Claude Young and (of course) Derrick May. But he avoids the minimalist streak of Young, the cross-city Chicago influence that occupied Larkin's output or May's otherworldliness. Focussing instead on reconfiguring the genres of house and garage to his own ends. Everything sounds infinitely optimistic and up, no bleak futurism's or introverted moments here ('Waterdance' and "Medative Fusion' do it for me.)

Later works under his own name might have delivered more polished sounding results (some of the EQ'ing on certain tracks is a bit suspect), but in terms of mood and emotion. It was and still is, pretty hard to top.

(I'd found the above mistakenly sitting inside a Windows'98 CD case that I was just about to chuck. Not an apt way for any CD to spend its dying moments in.)

Another lost CD that led to a visit to storage for records was Photek's problematic debut album 'Modus Operandi'. Had some great moments, but it's his early 12"s for Goldie's Metalheadz label that really do it. According to online resources, he was one of the main players in genre known as 'intelligent' drum'n bass.

I'd always side with John Peel in his comment that if there was 'intelligent' version of drum'n bass, he'd really like to hear 'stupid' version. Still, at a time when it was heavily dubbed up, turning into coffee-table lounge or still obsessed with Amen crackle and analogue warmth (no change there then). His records stood out as something different....I still feel the same way now.

They still sound futuristic and fucking fantastic.
They still appeal to people who can't stand drum'n bass.

There are definite musical routes that link him to the likes of Four Tet as well as the current Dubstep movement. A sparse, reductionist approach to everything. Crisp, digitally edited rhythm samples applied to hyper-detailed drum programming. Expert use of basslines with precision-timed bursts of low-end. And an over arching sense of paranoia and dread. Hardcore, but not happy.

It's so obvious he overdosed on electro and techno as a kid, but the influence of freeform jazz and fusion is a suprise. It all adds up to a canon of work that's yet to be surpassed. In a genre where releases date quickly, here are records that will stand the test of time.

You want specific tracks? Fair enough....

Photek: Ni-Ten-Ichi-Ryu (Two Swords Technique) - 1997
off 'Ni-Ten-Ichi-Ryu' (Science)

The New Musical Express amusingly re-titled this 'Ten Itchy Ryvitas' but they had the good sense to give it the single of the week accolade back in 1997 (at a time when they gave a shit about music). This is the sound of a swordfight remolded into a fierce piece of minimalist drive. Listen for the Japanese flute breakdown and an angrier closing quarter. Impressive video too.

Photek: KJZ - 1996
off 'The Hidden Camera' EP (Science)

I'm rendered speechless each time I hear this. The connections between jazz and drum'n bass were evident and exploited by everyone. But this is something else. Ever emerging layers of computer-created rhythm patterns eventually make way for a subtle ambient interlude before it all kicks off again. Possibly the best piece of electronic music to air-drum to.

Studio Pressure: The Water Margin - 1994
off 'The Water Margin / Fusion' 12" (Photek)

Released under his Studio Pressure alias, this came out before the two releases mentioned above and so isn't as brain-curdlingly complex. But it is a smart re-configuration of the sound of drum'n bass circa '94. Where shuffling breakbeats are slowly worn down before it spirals off into more interesting territories. This sounds both comfortingly familiar and pleasingly disjointed in equal measure.