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Bark Psychosis was a band few heard before its demise in 1994. In England, the few reviews Bark Psychosis received in the weekly music papers usually featured sniggering Pink Floyd puns in the headlines, though the band was more like a later-era Talk Talk playing dub. By the time Bark Psychosis released its debut album, after a handful of willfully variegated singles, the group was breaking apart. But Hex, the band’s sole album (not including two compilations), was a landmark in the way it used technology to influence improvisation and alter group performance. The group’s restless leader, Graham Sutton, immersed himself in computer trickery, and the way the album was cut up and reconstructed was unlike few others from its time. Naturally, Sutton’s sampler madness led him to drum ‘n’ bass, under the banner of which he records as Boymerang. But unlike Hex, which was ahead of its time, Balance of the Force is merely of it. Sutton is tight with scene biggies like Goldie, Grooverider, and the No U Turn crew, and his Boymerang debut takes bits and pieces from all of them. From the in-vogue paranoia of “Mind Control” and the techstep rumbles of “Urban Space” to the jazzy schmaltz of “Secret Life” to the LTJ Bukemish “A.C.I.D.,” Balance of the Force thoroughly co-opts the elusive power of drum ‘n’ bass, though it’s rarely used to defeat what Sutton believes is the dark side: musical stasis.

—Christopher Porter