I recently read an article in a newspaper about nostalgia. The column played around with the different concepts of the theme, and looked at whether humans still have the capability of revisiting fondly cherished moments and taking pleasure from past memories. Of course, this conjured up the question in my own head; musically, are we still capable of capturing such distinct events and taking solace from them? Or are we simply obsessing back to a time and place where we were once content, but flopping hopelessly to extract its purest elements?

To extend on this further, when we do return to all things passed, should it come to define who we are? It seems that nowadays many artists who relish in reminiscence accidentally dispossess their true idiosyncrasy in the process. Possibly we become so focused on discovering our roots that we lose out on our true ambition. Though, maybe making innovative music is besides the point; the art form of music is to make something that a listener can truly feel, interpret, perceive and judge, and which makes him feel a certain way which nothing else can achieve.

Clearly an already well-established electronic titan sprouting from Nottingham, Lone A.K.A Matt Cutler, has released a jumble of albums and EP's to enthusiastic responses, and his underground appreciation is visibly noticeable in his 45-minute set for Boiler Room which soared with insane velocity, and despite being leaked early on, his newest record Galaxy Garden which features contributions from Machinedrum and Anneka is released on R & S Records.

In some senses, Lone's newest release does define himself as an artist. Cutler pioneers an affluent reverence of London 90's Rave and Hardcore, Detroit Techno and Chicago House. 'Crystal Caverns 1991' and 'Raindance', the two stand out tracks of the album, fuel this juxtaposition, ploughing through a range of reminiscent tempos and retro synths that hark back to a deserted warehouse in an isolated countryside field, sometime in the early 90's, with kids munching around on Ecstasy. Agreeably then, in this nostalgic sense, Galaxy Garden does associate Lone as an artist spewed out by a genre that first arose nearly two decades ago.

Although it doesn't feel quite right to judge Lone in this demeanour. Rather than criticising his lack of innovation, maybe we should consider the fact that Lone has already released numerous EP's and albums of equal pop sensibility, and gratify him on returning to what first inspired him to make dance music five years ago. Undeniably, Lone isn't ashamed of progressing into 90's Dance music, instead rather enjoying the tempos, rhythms and instrumentals he has the opportunity to work with. As an example, in his earlier material such as his 'Emerald Fantasy Tracks', his music was certainly more hip-hop abstracted and down-tempo Dance music. However, by no means does this mean Lone couldn't of expanded more this time around.

Of course, alike the more recent Dubstep, 90's Dance music harbours a multitude of sub-genres. This in turn gives artists a spectrum of customs to approach and dismantle a sound, and branch it into something of its own capacity. In Galaxy Garden though, Lone seems to dismiss this pop possibility, preferring to stick to something of a more familiar and sensible ornament. At times this can be frustrating, as with a creative producer such as Cutler himself, there is unmistakably room for instrumental expansion, as can be heard on the iron wobble of 'Earth's Lungs'.

Even without confirmation of Cutler himself, it is obvious that although Galaxy Garden does unequivocally indulge in nostalgic ecstasy, with its Hardcore rhythms and snares throughout, it also entails an eery futuristic visual working. The record flows through a wondrous exploration of space and time, exuberant colours and all of the possibilities that follow. It is a thoughtful correlation, as tracks such as 'As A Child', featuring fellow titan Machinedrum's whispering vocals that would adjust themselves suitably on Washed Out's Within And Without, exude with soaring Dance melodies and hallucinogenic spacial awareness. Opener 'New Colour' isn't a bad description; with its glistening old school synth melodies, layered in a somewhat understated jittering of beats and rainbow glows, it drifts over an unknown landscape of fluorescent colourings that merge in idyllic manner.

Like it or not, nostalgia is a magical thing. It has wondrous powers that the human mind dare not imagine. Whether or not Galaxy Garden' is to define Lone as the successful return of 90's Dance music that stimulated a wave of sounds and producers in London, Detroit and Chicago, or is simply an exciting undertaking at surfacing an ecstasy that mainly only thirty to forty year-olds can truly resonate with, is all besides the point; Lone remains a fruitful pioneer of electronic music.