1. PLURAMON Dreams Top Rock This is the recycled future of everything. Julee Cruise returns to my world, and in a very obvious way the spirit of Loveless returns to my world. A great and passionate 39 minutes; disturbing but finally flying above the strings which tether us to the old world. Keith Rowe comes in at the exact point when he’s needed. And, as with my reissue of the year, it was a record which wasn’t just sent to me; I had to go out and get wet to find it. And, as in 1991, I find that actually I don’t want to spoil it by writing yet more words about it; I just want to listen to the music, to love to the music, to live with the music, to return to the way I used to experience music; with an audience of just one other. So, if you don’t mind, I plan to do that for a while.

If you need an explanation, Dreams Top Rock is my album of the year because listening to it is like having my entire life returned to me.

Sucked in by the hype, I had to plonk money down on this baby. About ten listens later and, well, it’s nice, real nice, and there are a few great songs on here, but... This whole return-to-Loveless thing hasn’t really worked, it’s not as woozy as it should be, as destabilising, as confusing and riveting and downright head-swimmingly Psychedelic as Loveless was/is/will always be. Julee Cruise’s voice is lovely (is it ever not) but I can’t help but feel that Schmickler spends too much time making Pluramon records that sound facsimiles of Other People’s Records.