This may put the kibosh on some future career move on my part, but I really don’t miss the days of having to come up with hip descriptors for house producers like Matt Cutler, who’s now five albums deep into his Lone project. And there I went already — I’m sure he’d rather be tagged as an experimentalist or impressionist than a house guy, and he often is, but man, we’ve been here before, starting with, well, Moby on the big-brand side, and meanwhile, given the one-fifth of hip-hop steez he poured into this stuff just to revisit his skater-boi days, it’s more about nostalgia for this guy in the first place. Granted, there’s no reason for me to single Cutler out this way; I assure you I could think of 100 DJs who’ve ticked me off more than this in just the last six months, and besides, it’s a great record for what it is, a sloshing-together of deep house, hip-hop, subatomic runway-model-techno and chunky beat-age. It’s cool, like flashing backward through your last extended rave after-party experience, with ethereal, disembodied chill in many colors. That fair and balanced enough, if illegible? I’ll admit that if this were the first LP of chopped-techno-chill I’d ever heard, it’d have a special place in the collection, but (did I say this already?) man, we’ve been here before. A — Eric W. Saeger
As seen in the July 24, 2014 issue of the Hippo.