Rewind: 10 albums still sounding fresh 20 years on

"Orbital are still light-years ahead of the competition." That was our view on Paul and Phil Hartnoll's fourth album in '96 and we weren't the only ones gushing over their concoction of giddy, playful melodies and cloudy, nasty-minded beats. The public loved it, too, sending it to number five in the UK charts, where it stayed for 12 weeks. Opener 'The Girl With The Sun In Her Head' is a beauty, an ode to photographer Sally Harding, a friend of the brothers, who died in 1995. The sound of a beating heart sets the track in motion, before startling synths cruise in and a slew of crispy breaks roll out throughout the 10-minute track. Interesting fact: this one was made using electricity from Cyrus, the solar power generator owned by Greenpeace. Environmentalism is a prominent theme on the record, linked into the sharp, searing 'Dŵr Budr' (Welsh for 'dirty water'), which was inspired by the "murky water in Brighton", according to Paul. 'P.E.T.R.O.L' is one hell of a screwed-up rampage, featured on Playstation driver game Wipeout, alongside tunes by The Chemical Brothers and Leftfield. They even got actress Tilda Swinton as the lead role in the video for 'The Box'.

It says a lot when someone nicknamed The Baron of Techno has hosted their own arena at one of the biggest festivals in the world since 2011. Tomorrowland in Belgium is where Dave Clarke has been every July for the last five years, joined by the likes of Scuba, Green Velvet and Marcel Fengler, proving that he's still got plenty of pull two decades since his debut album, 'Archive One'. Six years before the LP came out on Deconstruction, he debuted as Hardcore on XL Recordings, producing the "feel the bass"-shouting 'I Like John (Punky Mix)', before unleashing the hectic rave bomb 'Hey R U Ready (Non Minimalist Mix)' on R&S in 1991. By the time he'd reverted to making tunes for the album under his birth name in '96, his output had grown fiercer and was destined to cause carnage on the dancefloor. 'Miles Away' is a pacy, hammering package of house, 'The Woki' chops, screws and flips erratically and 'Storm' is a crash-course of wild techno. Chaotic as the album may be, closer 'Splendour' demonstrates Clarke's knack of being able to drop the tempo and rustle up a moody beauty to ease us out. It's not just techno he excels in.