Niun Niggung is an album of many manifestations – there are two distinct tracklistings, one for Europe, the other for America and Japan, with different artwork, and a whole number of proliferating singles and side-releases: Mouse On Mars were busy across the turn of the century. Niun Niggung feels bolshier and glitzier than previous albums, and in interviews at the time the duo said they were “arming the album differently” for its encounters with the outside world. It’s less subtle, more in-your-face, the blastic beats and strained patterns of “Distroia” as though the electronics are trying to squeeze their way out of the speakers and directly into your nervous system. It’s an album of abrupt cut-offs, jarring contrasts and sharp, ungainly shapes, which in retrospect, was completely appropriate to the nervous apocalypticism, the end-of-the-century blues, of its times.