Here's something paradoxical: an album of anthems that became that way more by indirection than fist-pumping obviousness. Rajko Müller, the German producer behind Isolée, first made a serious splash with the epochal 1998 12-inch "Beau Mot Plage," whose blippy, treated guitar evoked Wes Montgomery getting caught in a very funky tumble-dryer. "Plage" set the tone for the rest of Rest, which stretches the single's dry-yet-sumptuous timbres (the malfunctioning-data-entry sounds of the aptly titled "Text") and plangent synth manipulations ("Gallus," which nods to the spacier end of Detroit techno auteurs like Carl Craig and Derrick May) even further. Along with another 2000 album, Luomo's Vocalcity, Rest helped to map the possibilities of morphing IDM-style texture-tweaking with the body-moving imperatives of house.