Second Toughest In The Infants

English electronic albums from the 90s be much shorter challenge

Finally, my LAN is set up, day-glo Ethernet cables connecting the humming servers everyone had brought over, and everyone has found the patch to Starcraft allowing for local play. Thump thump thump thump diggy thump thump thump thump diggy goes Second Toughest in the Infants, as we enter a Mountain Dew-powered trance state...

I Didn't Finish Listening For Personal Reasons.

Second Toughest In The Infants continues the successful string of three masterpieces in a row that started with Dubnobasswithmyheadman and continued with 1999s Beaucoup Fish. This is brighter than Dubnobass but also edgier and harder in sound. The album cover art sets the general mood of the album. The shades of blue display its moody feel and its ambience. The splattering of different shades of blue on the cover and in the booklet displays the albums chaotic sounds. Extremely challenging & intelligent music. This is not for the narrow-minded.

Man, I expected to hate this and I absolutely did not. Is it repetitive? Well, yeah. I mean... it's techno. What did you expect? But it's damn good techno. Layered, complex, interesting, compelling. Makes a mean GSD background playlist for work, I'll tell you.

Starts slow and picks up at the backend, but also suffers from bloat heavily.

This is the kind of music you hear in those goth techno underground parties that is truly the stuff of nightmares. I will never recover.

Does anyone like techno?

This album has moments of straight techno which melt into new wave and atmospheric rock. At times, the album is danceable and at others, ponderous. The way that the music constructs and deconstructs is interesting and adds to the simmering quality of some of the tracks. Overall, really enjoyable if a touch too long

Less dance floor fillers than Dubnobass but a much more diverse album with a great flow. From big breakbeats to slide guitar, drum ‘n’ bass and even a gentle psychedelic vibe, there is so much to admire and appreciate on this ambitious album. A long but effortless listen.

I can see how this sort of thing fits a movie soundtrack or a passive activity like video gaming, but there's no way you can tell me that people actually put this on (with a clear mind) and actively listen for 75 solid minutes. This is decent background music at best. And not one, but TWO 15+ minute songs at the front of the album???? getthefuckouttahere... Banstyle isn't bad but it needs to be about 10 mins shorter. Blueski is cool.

Leaves me utterly cold. I don't know in what circumstance one would wish to engage with this, thus I can't even slap the 'music as function' label on it. This is seriously something I needed to listen to before the sweet embrace of the crypt? Really?

Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol, and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on Sunday morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pissing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourselves. Choose your future. Choose life... But why would I want to do a thing like that? I chose not to choose life. I chose somethin' else. 5/5

Love underworld. I am a little bit surprised that we didn't have dubnobasswithmyheadman or Beaucoup Fish, but hey. I've listened to SGitI no more than a handful of times in the past decade, so let's put it on. As I sit here, I am becoming increasingly impressed. As the music builds, I find myself wondering about the Americans who don't have even the first clue about what "second toughest in the infants" might mean. It isn't all killer, no filler though. There's quite a bit of dull on here, and that does stand in stark contrast to dubnobasswithmyheadman. But it's good enough to get 5 stars, even if it is too long.

This sounds like the background music to a YouTube video. Nothing of redeeming value here. And I don’t just hate techno cause I love kraftwerk

It’s over. Nobody listens to techno.

nah dude. like jam band deep house no fuckin thank you.

"Second Toughest in the Infants," is the fourth studio album by English electronic music group Underworld. This album released in 1996 and falls under the following genres: techno, progressive house, progressive trance. I am all about trance and techno, fueled thanks to late 90s/early-to-mid 2000s video game soundtracks, so I'm really excited to be jumping into this genre. This album opens with its longest track, "Juanita : Kiteless : To Dream of Love" at 16 minutes and 36 seconds. It is comprised of three tracks, per Wikipedia, "...which features all three parts intersecting each other at various points during the piece; hence, the use of colons instead of slashes..." This song opens with techno beats that make you want to nod your head/reflect/go clubbing. Hauntingly harmonized vocals pop in at 1 minute and sound distinctly robotic/nonhuman. This long track has moments where you can feel a transition of power as the songs morph into one another, with really fun beats, piano, vocals, and repetition carrying it along. The next track, "Banstyle/Sappy's Curry," clocks in at 15 minutes and 22 seconds. It reminds me of a snythy, bloopy beat I would hear in Sonic the Hedgehog or Tekken Tag Tournament. Vocals come in at around 1 minute 45 seconds that are much less robotic and more human than the previous track's offerings. The ambient tone with funky guitar work at around 6 minutes was really enjoyable and took me away into a slight state of flux. I sense this album will become a new record to work to for me. By the end of this track I could not believe how wonderfully lost I became. "Banstyle/Sappy's Curry," is the perfect background song. The third track on this album, "Confusion the Waitress," opens with a steady drum beat, followed by synth notes and an added trance beat to the drumming. There's a lot of beepy noises and spooky "she said" vocals. This poor, confused waitress. Track number 4, "Rowla," offers more electric chaos. Bass/guitar tunes over a steady beat remind me somewhat of a heartbeat, giving this track a life of its own. There is some fantastic work happening in this song that sounds like lasers flying off into the night sky. I love it. Next up on this album is "Pearl's Girl" at 9 minutes and 36 seconds. This is a steady track with really cool electric noise over a steady beat. This track was also featured in Gran Turismo 6 on the PS3, which makes entirely too much sense. Track 6, "Air Towel," features more steady synth notes and percussion. There is some dancing of sound going on between my left and right headphone, giving this track a very cerebral sound. Just another great song to concentrate to. Track 7, "Blueski," is the shortest song on the album, at 2 minutes and 55 seconds. It's a pretty consistent track of repeated guitar pluckery. It doesn't have a beat, but it's still easy to move your head to. Short and sweet. "Stagger" is the final track on this amazing collection of ambient wonder. This track features more vocals and lyrics than any of the other songs on this album, with a snippet reading: "The naming of killer boy Everything's going west, nothing's going east straighten There's no need to be so uptight straighten Make up for all their messes I could listen to you all day What a laugh, cut me I bleed like you, ha ha" The meaning is vague, though it seems to invoke a feeing of confusion or inebriation. A fitting end to this album. I was so very pleased with this album. I felt my mind flow away in a river of thought during my time with this collection of music. I can't wait to listen to it again, and again, and again! Favorite track: Banstyle/Sappy's Curry Honorable mention: Rowla

Top tier. The dance act all other dance acts secretly wished they were. This album doesn't even have their two vest songs on either.

"Cryptic lyrics" doesn't really seem to convey how odd the lyrics in this album are. They feel like stream-of-consciousness lyrics mixed and matched in with odd choices which serve to add to the instrumentality. Overall I've found myself enjoying the rhythms in the songs, which have some rather nice beats to them. Specifically "Pearl's Girl" is great in this aspect. "Sappy's Curry", the second half of the second track in the album, in particular, hits a very neat note with the instrumentals and a wonderful backing rhythm that I found myself enjoying, and I wish it was a song by itself. Stagger also has a very good sound together with the voice work, and it was a surprisingly enjoyable listen. Overall a very odd album from a genre I do not listen to much, but overall enjoyable despite IMO a weak and extremely confusing opening track.

La semaine dernière, je vous partageais les découvertes que j'avais faites au sujet de Jim Morrison. Je vous apprenais entre autre qu'il n'était pas décédé à vingt-sept ans comme cela a été relayé par la presse. Après une nouvelle sortie à la bibliothèque, j'ai fait de nouvelles découvertes dont une qui devrait particulièrement vous intéresser. Nous sommes le 26 avril 1986 dans une petite ville paisible appartenant alors à l'URSS. Comme tous les matins, les employés de la centrale nucléaire située dans ses faubourgs se rendent au travail. À leur arrivée, aucun problème n'est à signaler. Le jour est à la bonne humeur, les collègues échangent des sourires, l'un d'eux a même appris la veille au soir que sa femme était enceinte et se réjouit d'annoncer la bonne nouvelle à tout le monde. Seul petit hic à l'horizon, tous sont d'accord pour dire qu'il fait un peu frisquet dans le salle de contrôle. Wolodymyr, le technicien en charge de la maintenance, s'en va regarder l'état du chauffage et découvre que le thermomètre affiche seize degrés au lieu des dix-huit habituels. Le problème est vraisemblablement lié à un surplus de poussière dans l'un des tuyaux. L'opération nécessite donc un simple nettoyage à effectuer au niveau du radiateur central. N'ayant pas les outils adéquats à disposition, Wolodymyr appelle un dépanneur. Quelques minutes plus tard, un homme vêtu d'une salopette en jean et d'un crayon derrière l'oreille gauche s'annonce à l'entrée de la centrale (vous aurez reconnu Jim Morrison). Il vient réparer le chauffage. Le service de sécurité le laisse entrer. Une dame est ensuite chargée de le guider vers la salle de contrôle où il rejoint Wolodymyr qui lui indique l'emplacement du système de chauffage Sa boîte à outil ouverte, Jim Morrison s'accroupit, attrape un câble, le sectionne avec ses dents, puis un deuxième, en intervertit trois autres et souffle ensuite très fort dans une prise électrique. Il ramasse ses affaires et s'empresse de sortir de la centrale. Une dizaine de minutes plus tard, le réacteur explose, entraînant ce jour là à Tchernobyl la plus grosse catastrophe nucléaire jamais recensée.

Great album name, first off. I can see a child saying this when asked about how school is going. One of the best songs isn't even on this album, that song being "Born Slippy," which did not please me. I have similar comments about this album as I do many techno/disco/house albums in that it needed someone to edit the songs down and shorten the album. I get it though. Club + dancing + drugs = We don't want the song to end When I am just casually listening, I do want the song to end if I feel it is not going anywhere. Now that I have complained, I liked Juanita, Confusion Waitress, Pearl's Girls and Stagger. There is fun stuff on here but I'm also not knowledgeable enough to know how this music differs from the other dance music on this list that it must be represented.

Suite aux récentes decouvertes fracassantes de mon camarade d’écoute robpellemèle sur l’illustre Jim Morrisson, je me suis moi aussi enfermé à la bibliothèque afin d’effectuer quelques recherches. Ce que j’y ai découvert va complétement dans le sens des trouvailles de rob, mais laissez moi vous raconter. Nous sommes le 22 novembre 1963, quand Jim Morrison, équipé d’une salopette et d’un crayon derrière l’oreille (vous l’aurez donc reconnu, étant donné que je viens de donner son nom), sort de son domicile et s’installe au volant de son véhicule. Son itinéraire, il l’a bien étudié toute cette semaine, il se rend donc à l’hôtel où siège son client du jour. Arrivé devant l’hôtel, le client est bien présent accompagné de sa femme, et s’empresse de monter dans le véhicule après un « bonjour » poli et rempli de charisme. Jim commence alors à rouler doucement dans les rues de Dallas, afin de mener son client à bon port, sans prendre le moindre risque sur la route. En effet, Jim vient tout juste d’endorser ce nouveau métier de chauffeur privé, et après de nombreux échecs professionnels, il tient à mettre cette fois toutes les chances de son côté. Soudain, deux coups de feu retentissent, et des hurlements se font entendre. Jim se retourne, et retrouve son passager étendu sur la banquette, deux trous de balle sur la poitrine, sa femme paniquée. Ce passager, vous l’aurez reconnu – et ce malgré qu’il ne porte pas de crayon derrière son oreille – c’était John Fitzgerald Kennedy, 35ème président des États-Unis d’Amérique. Jim tentera bien de faire un massage cardiaque au pauvre John, en pressant fermement son poing sur les blessures béantes de ce dernier, mais cela n’eut pour effet que d’accélérer l’hémorragie, et d’ainsi précipiter un peu plus Kennedy vers son tombeau. Jim Morrison avait donc commencé à opérer bien avant de simuler sa mort en 1971 comme mon camadare robpellemèle l’a récemment découvert, mais que d’autre nous cache Jim Morrisson ?

There are some good songs on the album. Although I wished they had put in more of the slower songs, those were the best to me. Other than that this is DnB music as pure as it gets. Noce beats and a tempo that makes you want to dance. Not something I would listen to often but also not something I will turn off if it comes on. After listening to the album I looked up their other songs and they made Born Slippy, that explains why some songs (like Pearl's Girl) sounded similar to something.

album so good that it feels like they injected cocaine into it

One of the best electronic music albums of all time.

I've been primed for Underworld by a few soundtracks, and Second Toughest delivered. I'm not quite sure what to think of it: It's not quite perfect, but every track makes me itch to get inside it, tricky as that is. I had the same experience with Autechre, who I now hold in high regard but know little about. Does that say more about me than the band and the record? Likely, but the record is a great techno project, eight sonic crystals that could easily keep going and going and going (but would that ever overkill the runtime).

Very good for what it is but not something I would listen to sober in my home.

I guess I’m just a sucker for British electronic music. This was a great way to spend a night driving in my car imagining I was the protagonist of a moody 80s film. I’ll admit it’s a bit too long. But otherwise I thing this was pretty good. 4/5

So, Stereolab released an new album today, “Instant Holograms on Metal Film”, their first in 15 years and I am having a very hard time staying invested and not bailing on this record to listen to that one instead. Not because it’s bad, it’s fine or whatever…I really liked Stagger and Banstyle/Sappys Curry…it’s because I am very hyped for this new Stereolab record - it’s really excellent. They managed to make a record after 15 years hiatus that feels like they never left, while also exploring new territory. It’s exactly how a comeback album should be done. As for Underworld, this record is a bit long for me today (holy fuck, is it long) and doesn’t really feel too different from a lot the 90’s electronic on the list, but it is definitely in the upper tier of the choices here. That said, it will definitely make a decent segue into the new Stereolab record, which I plan on listening to the very second I am finished with this record.

Only knew 'Born Slippy' prior to this, so I had high hopes. Unfortunately, only the longer songs were interesting to me. The rest was kinda bland and pointless to my ears.

Third strongest mole? Second strongest infant? Are embryos gonna start ranking each other by strength next? No clue where or how this album is breaking new ground, but I thought it was pretty cool and is definitely in the key of music that I enjoy. My only real gripe is the overambition. You have to be pretty confident in your material to go for songs that are over seven minutes in length, and I didn't feel like any of the ones on this album had enough substance to justify their long runtimes. The sterile and stagnant nature of this music is a double-edged sword, however, as I can see myself putting this on when I want to relax or get into a flow state. I'll have to see where the cards fall in the future.

I've never listened to this group before, I love the story behind the title of the album. Trancey dancey jams - I put this on while I painted cabinets and it was perfect for that flow state.

Fav: Pearl’s Girl Least Fav: Blueski

You know that thing where the thing sounds like the parody version of the thing? This is that thing.

It's not a great sign when you look for the shorter tracks to decide what to include in your play list. Whilst not awful to listen to, this is a long album of very long songs which generally go nowhere. They're not ambient, but they don't really build either. I struggle to see the point of this existing. Rating: 2/5 Playlist track: Pearl's Girl Date listened: 24/06/24

There is a time and place for all music. In this case, let's say that you have to fight Liu Kang on your way through Mortal Kombat. Or, for example, you might be making your way through a crowded dance club, fighting a whole mess of Agent Smiths on your way to meet up with Trinity. In those times, this is 10 out of 10.

I’m proud to say I made it through to the end. That is all.

On the plus side: -I like the name of the album -Some moments in this reminded me of Skinemax-type movies from the late 90s On the negative side: -The last few minutes of each song that felt pointedly repetitive, almost like the government was trying to program my brain or drive me into psychosis -Everything else

Most repetitive album I've heard so far. If you've heard 30 seconds, you've heard the entire song. Holy shit, they do not need to be 15 minutes long. I'm sure it would make sense in a rave setting where I wanted to mindlessly dance all night. But in the car, it does not hold my attention at all.

Very out of my depth. I have never heard of this band and certainly am very unfamiliar with anything this deep in the techno realm. A very long record. Not really for me, pretty relieved when it was done and I could listen to something else.

really not my kind of music i hate to keep rating things like this as i was hoping to "broaden my horizons" but i couldn't get through this album

I don't recall 1996 being such a dull year for music that including this uninspiring and really bland techno album in the list would be even remotely warranted. But there you go. 1/5

I was SO bored. Kept waiting for the drop but it never came.

Couldn’t listen past the second song. This ain’t my thing

Maybe I didn't have the right amount of Molly.

Didn't like. COuldn't finish

Ufff not my cuppa. Couldn't finish it

Artistically speaking, in general, it's difficult to justify extending the length of a piece of music past the ten minute mark. That's even true with classical music, which obviously has more content than most popular music, which is why most sections in classical music rarely last more than ten minutes. The first two pieces on Second Toughest In The Infants are over 15 minutes and this is dance music, which by its very nature tends toward repetition and lack of content. But before I get into criticizing this artistically, let's talk about its intended function. Could you dance to this? Yes. It's hypnotic. None of the musical textures are nauseating, which has to count as some sort of accomplishment in the dance music environment of the last 30 years. I could imagine, in the right circumstances, say in a packed club, allowing myself to be swept away into the mindlessness of it all and gyrate endlessly in a sea of humanity. So, it succeeds on that level. But how about artistically, as a pure listening experience? The first song, Juanita, is pretty much a dead loss. The beats, rhythmic development, and sound world, while not actively unpleasant, are almost completely devoid of interest. The 2nd tune, Banstyle, is much better. It's built on a simple two chord vamp, which thankfully has a pleasant timbre. The rest is layered rhythms. Ever so slowly, the vamp shapeshifts into a single chord. Within this extremely limited scope, Underworld crams in an impressive variety of textures, both acoustic and digital. The effect is a little like looking through a microscope at a drop of water, teeming with bacteria. It's only a drop of water, but there's a whole world in there. I could see where this might work if you just wanted to zone out or let your mind wander, but it doesn't rise to the level of being truly interesting, like We's As Is. It turns out that Banstyle is the best that Second Toughest In The Infants has to offer. Confusion The Waitress and Rowla spin minute variations on 1 or 2 bar themes. It's reductive, maddening, and boring beyond belief. Second Toughest In The Infants isn't an album. It's an endurance contest. I give up. Underworld wins.

All 5 in the world 🖤🖤🖤

Guess we're all on the same page about this :))))

## In-Depth Review: *Second Toughest In The Infants* by Underworld ### **Overview** Released in 1996, Underworld’s *Second Toughest In The Infants* stands as a landmark in electronic music, cementing the trio’s reputation as genre pioneers. Following the critical success of *dubnobasswithmyheadman*, this album expanded their sonic palette, blending techno, house, drum & bass, and ambient textures into a cohesive, immersive experience[1][3][4]. The album’s title, a whimsical phrase from Rick Smith’s nephew, hints at both its playful spirit and its position as a confident, mature follow-up[6]. --- ## **Lyrics** **Style and Approach** Karl Hyde’s lyrics on *Second Toughest In The Infants* are surreal, cryptic, and delivered in a stream-of-consciousness style. Rather than telling straightforward stories, Hyde paints impressionistic scenes, using fragments of urban life, overheard conversations, and abstract imagery to evoke mood and place[1][4][6]. This technique is especially evident in tracks like “Juanita: Kiteless: To Dream of Love” and “Pearl’s Girl,” where phrases like “your rails, your thin… paper wings” and “crazy, crazy, crazy” become mantras, looping and mutating with the music[5][6]. **Themes** - Urban alienation and euphoria - Nightlife, clubbing, and altered states of consciousness - The interplay of menace and calm in modern life - The search for transcendence amidst the mundane **Strengths and Weaknesses** *Pros:* - Lyrics enhance the music’s hypnotic, immersive quality, acting as another instrument rather than a narrative device[1][4]. - Hyde’s delivery is emotionally resonant, ranging from detached observation to urgent exclamation. *Cons:* - The abstract nature of the lyrics can be alienating or impenetrable for listeners seeking clear meaning or traditional song structures[4][5]. --- ## **Music** **Composition and Structure** *Second Toughest In The Infants* is characterized by long, multi-part suites—most notably the 16-minute opener “Juanita: Kiteless: To Dream of Love” and the nearly 18-minute “Banstyle/Sappys Curry”[3][4][5]. These tracks unfold gradually, layering intricate rhythms, evolving melodies, and shifting textures. The album deftly balances uptempo dancefloor energy (“Rowla,” “Pearl’s Girl”) with introspective, downtempo interludes (“Blueski,” “Stagger”)[1][4][5]. **Stylistic Range** - **Techno and House:** Pulsing beats, hypnotic basslines, and propulsive synths drive much of the album. - **Drum & Bass:** “Banstyle/Sappys Curry” incorporates breakbeats and jungle rhythms, showcasing the band’s versatility[4]. - **Ambient and Experimental:** “Blueski” uses slide guitar loops to create a dreamy, calming atmosphere; “Stagger” closes the album with a slow, organic build[1][4]. - **Progressive Influences:** The album’s epic structures and dynamic shifts evoke the ambition of 1970s prog rock, but filtered through a modern electronic lens[4]. **Highlights** - “Juanita: Kiteless: To Dream of Love”: A masterclass in tension and release, building from minimal beginnings to euphoric peaks. - “Pearl’s Girl”: Combines choppy, stuttering vocals with relentless, driving beats. - “Rowla”: A club anthem with distorted synth riffs and infectious energy. - “Blueski”: A brief, beautiful respite featuring steel guitar over electronic textures. **Strengths and Weaknesses** *Pros:* - Exceptional pacing and dynamics, with seamless transitions between tracks and moods[1][4][5]. - Rich layering and textural detail reward repeated listens. - Balances cerebral complexity with visceral impact—equally effective for dancing or deep listening[4][6]. *Cons:* - The album’s length and sprawling structures may test the patience of those seeking concise, radio-friendly tracks[5]. - Some listeners may find the more experimental passages meandering or lacking in focus. --- ## **Production** **Sound and Mastering** The production on *Second Toughest In The Infants* is notable for its warmth and clarity. Unlike many contemporary dance albums, it eschews heavy compression and hyped highs, resulting in a sound that is dynamic, spacious, and inviting[2]. The mix allows every element—Hyde’s vocals, Emerson’s synths, Smith’s programming—to breathe and interact organically. **Techniques** - Use of field recordings and found sounds (e.g., car alarms, public announcements) to create a lived-in, urban atmosphere[1]. - Intricate sequencing and automation, with evolving patterns and subtle shifts in timbre and rhythm. - Careful attention to stereo imaging and spatial effects, enhancing the immersive quality of the music[2]. **Strengths and Weaknesses** *Pros:* - The album sounds “fresh” and “wonderful” even decades later, thanks to its un-crushed mastering and analog warmth[2]. - Production choices contribute to the album’s longevity as both a club record and a headphone experience. *Cons:* - Some may find the overall volume quieter compared to more aggressively mastered modern electronic albums, potentially requiring more attentive listening environments[2]. --- ## **Themes** **Exploration of Modern Life** Thematically, *Second Toughest In The Infants* captures the exhilaration and confusion of 1990s club culture, but also delves deeper into the internal, reflective side of that experience[1][5][6]. The album oscillates between moments of communal euphoria and solitary introspection, mirroring the emotional highs and lows of rave culture. **Juxtaposition of Menace and Calm** Throughout the album, Underworld juxtaposes anxious, forward-pushing beats with moments of serenity and calm, reflecting the unpredictable nature of modern urban existence[1][5][6]. This dynamic tension is a key part of the album’s emotional impact. **Transcendence and Escape** The music often feels like a search for transcendence—a way to escape the confines of daily life and enter a heightened, almost spiritual state. The album becomes a “soundtrack to our lives,” offering both escape and reflection[1][6]. --- ## **Influence** **Impact on Electronic Music** *Second Toughest In The Infants* is widely regarded as a high-water mark for 1990s electronic music[1][4][6]. It helped to: - Bridge the gap between underground dance music and mainstream audiences, showing that electronic albums could be as ambitious and artistically rich as those in rock or pop[4][6]. - Influence a generation of producers with its blend of genres, sophisticated production, and willingness to experiment with structure and form[1][4]. - Inspire the development of live electronic performance, with Underworld’s energetic, improvisational shows becoming legendary. **Cultural Legacy** The album’s influence extended beyond music, helping to define the sound and spirit of an era. Its tracks became staples in clubs and festivals, and its innovative approach paved the way for later electronic acts to embrace both the dancefloor and the album format[6]. --- ## **Pros and Cons** | Pros | Cons | |----------------------------------------------------------------------|---------------------------------------------------------------------------| | Masterful blend of genres and styles | Lengthy, sprawling tracks may be daunting for some listeners | | Immersive, dynamic production with analog warmth | Abstract lyrics can feel inaccessible | | Surreal, evocative lyricism enhances the music’s atmosphere | Experimental passages may seem meandering | | Exceptional pacing and track sequencing | Quieter mastering may not suit all listening environments | | Balances cerebral complexity with dancefloor energy | Not as immediately accessible as some contemporaneous electronic albums | | Influential, genre-defining work with lasting cultural impact | Less focus on traditional song structures or hooks | --- ## **Conclusion** *Second Toughest In The Infants* is a towering achievement in electronic music—ambitious, immersive, and emotionally resonant. It captures both the euphoria and the introspection of 1990s rave culture, blending genres, moods, and textures into a seamless whole. The album’s surreal lyricism, dynamic production, and willingness to experiment have ensured its status as a classic, influencing countless artists and listeners in the decades since its release. While its length and abstraction may challenge some, those who invest the time will find a rich, rewarding experience that stands as both a document of its era and a timeless work of art.

Incredible record. Some of the best Electronic music I've ever heard. Those beats and the production mixed with the vocals and guitar... it's an album I will return to for sure.

Very atmospheric. Felt inside a Boiler Room and a play1 game at the same time.

I never really know how to describe techno/electronic music I dislike vs what I like. I liked this a lot! Embarrassing to know Born Slippy and not ever find this album. Four stars for the album but a fifth for the deluxe version.

Superb crossover electronica album. ‘Juanita’ is one of their best tracks, ‘Pearl’s Girl’ is also a fantastic driving breakbeat track with wonderful pads. Sone of the 1/5 reviews of this are hilarious, these people should really just filter “electronica” out of their albums selections.

Absolutely great to work to

Still hits hard. A unique blend of ambient, drum n bass and dance floor stomp.

Great, quality electronic sounds man

Dope

YES, great selection. Instantly added to my downloaded albums.

I wasn't expecting too much from Second Toughest In The Infants because i didn't remember it being too great but man, this album surpassed my expectations and then some. Every song here just manages to feel like the best kinds of electronic music with enough energy to be easy dance club bangers and enough ambiance to feel like you're in a whole new world. The guitars weren't there often but when they were there, they were just so unbelievably well done. It may be a 71 minute long album which may put some people off but in my ears, they made sure to make every second pure bliss. Best Song: Banstyle / Sappys Curry Worst Song: Confusion The Waitress

As soon as I heard the first beat I knew this was going to be magical- LOVE BREAKS ME Just want to be dancing in a sweaty club in 1996 favs: Juanita Confusion the waitress Rowla Pearl’s girl - WOW Air towel

Great album!

The aural landscape changes subtly, yet so completely that I often found myself checking to see if the song changed. 5/5

To me, Underworld always represented the sound of a very late night, when adrenaline first starts to give way to exhaustion. It's like having been in the club until 2am, and heading home on the train (or God forbid, a late night bus through London). The excitement of the evening lingers but the rough edges of the city at night also creep in. The stream of consciousness lyrics represent the inevitability of real life after the escapist hedonism of the evening. It eventually leads right into a hopefully restful sleep but your mind is still going a mile a minute. If the music sounds overly repetitive, you may be missing a lot. Like a lot of the genre, "Second Toughest in the Infants" does rely heavily on a steady rhythm necessary for a trance-like state, suitable for dancing, travel or sleep (or in some places, religious experiences). But Underworld give you a lot more as well including rich ambient textures, waves of acoustic guitar, complex song structures, and introspective lyrics. Underworld, along with a handful of other 90s groups, were techno for the art house crowd. This album marked the second release from Underworld's MK2 phase. Having tried, without much success, to form a synth pop band, Rick Smith and Karl Hyde's bandmates quit and the group fell apart for a while. When the two finally recruited DJ Darren Emerson, they resurrected Underworld and focused on a new sound influenced but distinctly apart from the London rave scene. The three albums recorded as a trio are considered the peak of the band's career and any one of them could have made this list. "Second Toughest in the Infants" is possibly their most cohesive effort, even if it doesn't have any of their most well known songs. It was released shortly after they'd contributed two songs to the movie Trainspotting, marking the start of a partnership with director Danny Boyle that would eventually see Underworld playing the opening ceremony for the London Olympics. Quite a journey from the struggling synth pop band that nearly called it quits in the 80s.

I actually had a really fun time with this one! The grooves had me dancing, which is the whole point right? I've realised I never give edm albums 5 stars because they're repetitive, but that kind of comes with the turf. If it's repeating stuff you don't like or are bored by, then obviously that's not ideal. But fuck it, this one repeated bangers only.

4.5/5

Love this album as much as I did when it came out.

exactly what i needed to listen to when i needed it most. blessed selection of tracks, i'll be returning to this one over & over again <3

I’m a sucker for anything that sounds like it could soundtrack the character select screen of a PS2 game. On vibes alone, I was going to love this album. But Second Toughest In The Infants takes that vibey, pumping, loop-able genre and elevates it to something serene, something almost religious. It does it in the lyrics, and in the builds, and it’s all so small and minimal, but the reward is in the details. Those details are hidden and demand attention to appreciate, but god, does it pay in dividends. The only thing that could make this record better is if “Born Slippy” closed the album out.

This album grew on me massively, amazing stuff

whoa

First Choice Album!

Love them, all the releases in 90s are amazing

What an absolute banger!

Surprisingly good for its age, and incredibly fresh and innovative for an electronic album of this time.

They don't make stuff like this anymore. Acid tinged, hard edged house beats on the opener with a hypnotic melody that enters in the last third. Then we change tack, and Ban style starts with ambient breakbeats. Sappys Curry leans closer to rock, but with a psychedelic keyboard solo in the second half. Dense and very atmospheric. Then Confusion the Waitress has bleepy synths and a steady kick drum. Pearl's Girl is the biggest 'hit' on the record and it makes me wish I was at a warehouse rave in the 90s. Air Towel pulls from Detroit techno. This really covers a lot of ground.

Loved it! not their best album either, but still very good!

Underworld can do no wrong, loved the album.

Very nice discovery!

Great

Heel goed een kende het niet!

Very good techno album. Highly enjoyable.

Awesome electronic album - a bit long, but somehow it doesn't feel that way. It's got a punch and it's both atmospheric and also dance-y. I liked Underworld, but love this record.

Vampire sex dungeon rave music. Its origin story.

The naming of killer boy....Reverend Al Green...Karl Hyde's cut-up lyrics are an under-rated part of Underworld's armoury, along with his sometimes sung sometimes spoken delivery. This is an amazing album, showing how swiftly dance music was changing the musical landscape in the mid-nineties. Not since progrock had albums seen lengths like this: the first two tracks clock in at over 30 minutes, and the first has distinctly-named sub-sections, another prog move. All the tracks shift and alter evolve slowly - a bassline here, a hi-hat there, as melodies and Hyde's vocals emerge and subside from the central groove that anchors each (and made them such a mainstay of the 'DJ compilation mix' of the time). Apart from prog, an even better comparison is the minimalism of Steve Reich - imagine Music for 16 Musicians with a drum machine and you're halfway here.

Sensational album on its own but ranking the re-issue with the addition of Born Slippy brings this up to a clear 5/5.

Fantastic album. I had heard Born Slippy .NUXX from Trainspotting and have listened to it countless times. So I was curious to hear what other work form Underworld would sound like. Like most ambient/electro/progressive house music, it's an acquired taste. To me, this is the soundtrack of 1996 nostalgia. I particularly the monotone drone vocals (I wouldn't quite call it singing) that you hear on Rowla, Pearls Girl, and Born Slippy. I can't help but hear Ewan MacGregor's "choose life" monologue when hearing Born Slippy.

just wow. the first two tracks each being 16 minutes long is a bit jarring. but this is a fucking journey.

One if my all time favorites, this is a very easy 5/5 for me, especially if you add Born Slippy to the end

Always happy to see some electronic stuff here. Underworld are fantastic. Intelligent proggy stuff that knows how to use ambient sections to make the heavy parts hit harder.

Excellent.

Hell yeah, good stuff.

In the second installment of their reinvention into techno/electronic mavericks, Underworld expand and explore even further on Second Toughest in the Infants. Throwing down the gauntlet with two back-to-back half-hour jams that best illustrated their affinity for heightened nocturnal experiences, they up the ante with an increased reliance of grooves that not only prepared the listener for what was to come but established Underworld as the kind of group that can implement rock-adjecent aesthetic with ease. This may be seen as the middle child in their 90s trilogy of classics but this is just as integral to the dance scene.

The first few opening minutes had me dreading what this album might be, but I'm happy to be proven wrong. What a propulsive, dynamic, interesting electronica album.

Perfect industrial ambiance with a nice nice sprinkle of DnB

This is great. Smooth electronica with great beat and enough intrigue to keep your attention.

Just the sheer fucking density of the sound. Insane and incredible and awe-inspiring. Never moves like you think it's going to. At once utterly jarring and soothing, a Hell's Kitchen nightclub and a Bali beach at the same time. Music that makes you feel alive.

Yes! Absolutely loving all the British electronica that is coming up on the list lately. Trippy and psychedelic, exciting and ravey but also oddly chilled? Made for great programming music unsurprisingly. This is definitely a record that I want to seek out. Favourite: Pearl's Girl