15 Songs, 1 Hour 4 Minutes


Ratings and Reviews

5 out of 5

12 Ratings

12 Ratings

If you only buy one song....


If you only buy one song on this album, buy Ralome, one of the most beautiful, sublime tracks I have ever heard which (thanks to it's use in an ad campaign) will forever transport me to the islands of Tahiti, Moorea and Bora Bora. My five star rating is for this one track alone.

A masterwork of surreal beauty..


There will never be another album like this.. This should be the level of song crafting and creativity that electronica artists aspire to. The sheer genre bending dynamics keep the receptive listener fully engaged.. wondering what comes next, savoring each sonic sensation. For me, the album reels with nostalgia and delivers an emotional depth charge only challenged by the rare FSOL or Aphex Twin ambient track. I agree with the prior review regarding the track "Ralome".. no words, just listen and you'll feel the warmth. Also please check out "Buddy", a moody & atmospheric trip-hop gem that delivers hypnotic perfection. What a gift to humanity when sonic beauty such as this comes to be. Plaid, you lend sanity to truly insane times, Thank you.. -Chad

Great album, classic


Electronic music at its best.

About Plaid

Although Plaid pre-existed the association, the duo's Ed Handley and Andy Turner spent most of their early recording years with Ken Downie as the dancefloor-confounding Black Dog Productions. Meshing well with Downie's vision of heavily hybridized post-techno and obscurantist thematics, the pair brought several nascent Plaid tracks to the Black Dog table on the group's debut, Bytes, a collection of tracks recorded by various iterations of the three members. The group recorded several albums and EPs throughout the early and mid-'90s, helping to forge a style of dance music one step removed from the 12" considerations of the average faceless techno act; Handley and Turner's mutual love of early hip-hop contributed BDP's more bawdy, street-level grit.

The pair split from Downie in 1995, and began rechanneling their efforts full-time with an EP on the neo-electro Clear label before signing to Warp. (The pair also recorded an album with European techno figure Mark Broom under the pseudonym Repeat, two tracks of which also made it onto the South of Market EP, released on Jonah Sharp's similarly located Reflective imprint.) Both of Plaid's first two full-lengths, 1998's Not for Threes and the following year's Rest Proof Clockwork, were issued in the U.S. through Nothing. Once Warp set up a home on American shores, however, Plaid made the natural switch with the long-awaited collection Trainer, a retrospective including much of their early, pre-BDP work. Their proper third album, Double Figure, followed in spring 2001, and the handy Plaid remix collection Parts in the Post was issued in 2003 by Peacefrog. The end of the year brought the duo's fourth proper LP, Spokes.

Plaid were quiet on the recording front for several years, finally returning in mid-2006 with Greedy Baby, a mini-album that found the pair co-billed with visual artist Bob Jaroc. Two years later, they made the small leap to recording the soundtrack for Heaven's Door, a Japanese film directed by Michael Arias. In 2011, they returned with Scintilli, released on Warp. Three years later, they nodded to the warmer and more playful sounds of their late-'90s material with Reachy Prints. This was followed by 2016's The Digging Remedy, which revisited the Detroit techno influence of their earliest work. The album featured flute and guitar by guest musician Benet Walsh, who had contributed to most of Plaid's albums since Not for Threes. ~ Sean Cooper





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