Artwork contains a typo for track C1, "Drums In A Grips", correct title is in tracklist here. Track D1 is a bonus track for the vinyl format. -- What is future going to sound like? Techno? Even though there may be prognostications that this sub genre has exhausted its own sonic panorama into a barren synthscape, musicologists continue to underth new deriatives from the underground. The 4/4 metronomic stomp has been superseded by intricate, sound aesthestics which are now galvanised in jazz incrementals, classical sweeps and dub bassbooms. Also there has been a return to the subterranean grooves that were first culled in the Motor City where Detroit technicans synergised a type of music which could both be celebral mindfodder as well as simulated disco music for the millenium. All this indicates that techno has no subgenres. It's influence on mainstream culture is far too pervasive - who would have predicated 3 years ago that Levi's would run a Biosphere backing track to one of it's adverts. This is why Harthouse has continued to chronicle, in it's "Dark Hearts" compilation instalments, the shift in variances from the devoted apostles. Reaping in exclusively recorded tracks from programming magicians like Morganistic (aka Luke Slater) Rabbit in the Moon and BCJ, techno's spectrum has been stretched beyond it's usual aural sphere. Sublime frequencies are showcased in Peacefrog's Neil Landstrumm's automated. Coltranesque serenade, Frank De Wulf's psychedelic percussive textures. Alter Age's dubtronic digitalia, Hardfloor's intergalactic blip-zapping. Cari Lekebusch's (aka Braincell) analogue, loop reiterations and Detroit product, Claude Young's new wavesynth-warping. So what is the future going to sound like according to Harthouse?