I actually bought this on CD, from a previous incarnation of mp3.com after coming across Jeremy on a synth mailing list back in 2000 or so. Nine years later this album still features highly in my playlists although it's difficult for me to describe why.

When it comes to the crunch I think it must be the texture and flavour - a rare thing which I haven't often come across in this genre of music. It's glitchy without being arbitrary, noisy without being overly harsh; it's in some kind of Goldilocks zone for me although I do prefer some tracks over others. I think if I ever got around to it I would have wanted to make music like this.

It's certainly not going to be to everyone's taste but the album does cover a lot of ground so there could be a track or two that appeals. However I think does it play best as a full album
due to the way the tracks lead into each other.
1-2-3-4 opens the album with a somewhat gimmicky noisy grinding track interspersed with contrasting soundgrabs. I think this is one of the weakest tracks but the album had to start somewhere so why not with a count in?
Digital Machines is a dreamier ambient piece which I like a lot.
Planting a tree is a more straightforward electronic piece with really interesting textures, another one of my favourites.
N.A.J. is an almost cheerful little ditty, quite catchy with a regular beat but leading into Circular, a louder harsher tune which at times seems slightly insane in comparison.
Improvements is a quieter, steadier track. It feels like a build up to the higher energy track Xenon Houses, which sounds like it is about to end in some old-school arcade game bleep-bloopery but instead a single mournful noisy note leads into the next track Difficulties.

Difficulties grinds away noisily but gives way to some surprise piano in the middle. Somehow this makes it sound even more dystopian to my ears. This is resolved at the beginning of the next track, Ascent, which initially lives up to the promise of lifting the listener out of the chaos. However it ends up leading into a soundscape even more off-kilter.
Pointless is a short transition track with some catchy piano riffs.
Connect the dots is one of the noisier tracks, mostly percussive.
It will all get better is another dystopian piece with some really nice mournful piano emerging in parts. Despite the title, this song always sounded fairly fatalistic to me.
Blastissimo version 1 picks up the pace once more with another fairly straight forward electronic track which leads straight into Interlude. Interlude is a short floaty little piece which you know can't last. The End comes three tracks too early and again is a dark fatalistic and gloomy track.
It's followed by Undercurrent which is a fairly tense and atmospheric piece.
Encore 303 picks up the pace again with a nice synthy electronic track.
The last song, Detatchable Braincells harks back to the bleep-bloopy ending of Xenon Houses and has probably the least structure of all the songs on this album. I'm not really sure what to think apart from it reminds me of misfiring neurons triggering childhood memories, nightmares, dreams, terror, chaos. So I guess it is a fitting end.

Listening to the album again for this review I'm still not sure where the musical narrative of the album is taking me but it's a place I know I will be back to visit over and over.