VMP Magazine

When the Rapture released Echoes in 2003, the burgeoning online music media hailed it as a watershed moment for fine-tuned polyglot taste. No more did the underground consist only of slack-jawed white men and guitars! Now it can include slack-jawed white men with synthesizers too. In Amy Granzin’s blurb for the record on Pitchfork’s 2000’s decade list, she wrote “Echoes ordered indie kids to drop their genre boundary-drawing chalk and start taking beatmakers and synth-players seriously. [It] paved the way for Justice, MGMT, Hercules and Love Affair, and a host of other independent-minded dance acts.”