Jason Forrest

On the first full-length released under his own name since 2005's Shamelessly Exciting, the Berlin-based American definitely tries to live up to his album's title. Drum & bass, synth funkiness and 8-bit squelches all rub up against each other until a new electronic flavour is minted. Forrest's piecework approach pegs him as a music obsessive, evident even from his early work, which was peppered with samples from everyone from Laurie Anderson to CCR, not to mention his appropriation of Donna Summer as a nom de plume. That trickster impulse delivers musical scenarios such as "Roger Dean Landscape," which sounds a little like an alternate Tropicália soundtrack to a Super Mario game, or "Crime of the Century," which pits a classic heist movie score against what sounds like Kremlin hip-hop stabs. Just as in the heyday of supreme releases by Ninja Tune or even Emperor Norton artists, The Everything delivers less of an electronic music album than a music album that's electronically created.