Solo performer: Matt Elliot. Recorded in 1999. Treading far less aggressive and dark ground than YOU GUYS KILL ME, this album is still cut from similarly lo-fi gothic cloth. "What Is It With You" overlays several vocal lines building upon one another until a burst of drum 'n' bass trills brings it to a grinding halt. "Lost" has a lovely repeated guitar passage that's punctuated by soft piano chords and a beautiful female vocal. The largely acoustic arrangement evolves over 11 minutes attaining a wonderful psychedelic haze. The album closes with "Goddamit You've Got To Be Kind," a quiet haunting trip-hop number with an overlying string motif that simply falls into diminuendo as the breath leaves the pipes. It would seem a paradoxical combination, the harshest of rhythmic styles and the most beautiful of melodies, but in its own way, it's very primal. Matt Elliott's collage technique is quite organic, unlike Hal Willner or Moby, whose albums are more episodic. Elliott uses a selective palette of themes and creates the songs seemingly as artists put paint on canvas. The choral samples echo previous work, but here the mood is more soulful, accessible and hypnotic, though not without drama. "I wanted to make a beautiful record," says Elliott, "something to melt hearts."

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Solo performer: Matt Elliot. Recorded in 1999. Treading far less aggressive and dark ground than YOU GUYS KILL ME, this album is still cut from similarly lo-fi gothic cloth. "What Is It With You" overlays several vocal lines building upon one another until a burst of drum 'n' bass trills brings it to a grinding halt. "Lost" has a lovely repeated guitar passage that's punctuated by soft piano chords and a beautiful female vocal. The largely acoustic arrangement evolves over 11 minutes attaining a wonderful psychedelic haze. The album closes with "Goddamit You've Got To Be Kind," a quiet haunting trip-hop number with an overlying string motif that simply falls into diminuendo as the breath leaves the pipes. It would seem a paradoxical combination, the harshest of rhythmic styles and the most beautiful of melodies, but in its own way, it's very primal. Matt Elliott's collage technique is quite organic, unlike Hal Willner or Moby, whose albums are more episodic. Elliott uses a selective palette of themes and creates the songs seemingly as artists put paint on canvas. The choral samples echo previous work, but here the mood is more soulful, accessible and hypnotic, though not without drama. "I wanted to make a beautiful record," says Elliott, "something to melt hearts."