The album that best defines this period and my ongoing taste in music is Aphex Twin's Richard D. James album.
There's a little story attached to this.
I used to play rythm games alot. For a long time I was very into DDR, Pump It Up, In the Groove, even Beatmania IIDX. I guess after my first online community the rythm game scene was my next big thing for me. I spent alot of money and time in the Namco Funscape, Trocadero and other arcades during this time, before I lost interest in the people and moved away from the games.
These games mostly exist in arcades, with some console versions if you're willing to buy a junky and expensive plastic mat to stomp about on, but there are also unofficial simulators you can download for PC. The most widely used for DDR is called Stepmania. You can plug one of the actual mats into your PC to play it, but you can also just use the arrow keys on your keyboard. It's obviously not the same full-body experience, but it's still reasonably fun, and alot easier and more convenient.
As well as being able to play the actual Konami songs from the real DDR games in Stepmania, you can put any song you like into the game and make what is called a "simfile" for it, crafting your own sequence of steps to go with it. At some point people figured out that since most players are just using their keyboards, you can make simfiles that aren't constrained by the limits of what a person's legs can do, and instead make them specifically to be played on a keyboard. This leads to much harder simfiles.
I played alot of keyboard Stepmania for a period, and one song that had a particularly fun simfile made for it was Aphex Twin's Girl/Boy Song.
It was a weird kind of music I hadn't heard before, and the steps being meticulously synced up to the detailed polyrythms made me appreciate it more. At this point I was probably about 18 and I don't think I'd ever actually purchased an album in my life. Aphex Twin would end up being the first music I bought. Oddly, because I am a contrary sort of person, I didn't actually buy Richard D. James Album first, I got I Care Because You Do instead, which initially I didn't like too much. Then I wised up and got the former, and it's actually remained one of my favourite albums to this day.
I'm the kind of person who pretty much never puts my music library on shuffle, almost exclusively listening to albums as a single unit, in order. This does mean I end up getting a good sense of which tracks I want to skip (even if I don't actually do so). Richard D. James Album does not have a track I ever want to skip, and this is very rare indeed. It's not just that every one is high quality on its own. They all feel very cohesive, and nothing is out of place. There's alot of warmth in the synths and samples of 4, Fingerbib, To Cure a Weakling Child, Good Gumpas, Yellow Calx, and Girl/Boy Song, but even those tracks that fall on the harsher side, Cornish Acid, Peek 824545201, and Carn Marth, have this fuzzy, gritty intimacy in their sound so that they're clearly part of the same world. A world of close family, wooden floorboards, rusty gates, dust, home.
There are neat little tricks of pacing and linking the songs together. Cornish Acid, Peek, and Fingerbib employ this weird beeping audio artefact at their beginnings and/or ends, possibly a modem or telephone sound, maybe taken from some specific audio equipment malfunction. I think it's brilliant to juxtapose these three linked tracks in the first half of the album, right after the intro track of 4, as it estalishes the mood and tone early. Richard brings you into the place he wants you to be in at the start, so that you're sitting there comfortably for the rest of the album.
Goon Gumpas is almost an anomoly. It's the only song that doesn't employ any percussion at all, and is obviously more sedate than anything else on here. It's the one track that a person would probably be least likely to listen to on its own, out of context. However, I consider it an important part of the pacing of the album as a whole. I think a temporary shift in tone is appropriate just before entering the final act of anything, and this includes music. It's a signifier, to let you know that you're coming towards the end, and should prepare yourself. Additionally, the soft string instruments used are a mirror of what is to come two tracks later in Girl/Boy Song, so that when you hear the latter it feels like a reprise, like a motif, a theme that's been building up and is now being resolved. It's satisfying.
The final track, Logon Rock Witch, carries the sinister tone of some of the earlier tracks, but is also a little lighthearted, made out of silly sounds from children's toys. I feel this is a good way of relieving the gravitas that comes with a really outstanding and intense penultimate track, so that the end of the album comes more easily.
I've gone through phases of being into other stuff (most notably Japanese gabber/hardcore/speedcore, also introduced to me by Stepmania), and have had individual albums that I've been really obsessed with for a period, but this one has remained the most consistently listenable for me. And a large part of my taste in music can basically be traced back to it. Having bought it, Amazon started giving me recommendations, which lead me to artists like Boards of Canada, Plaid, and Kid 606. And plenty of similar music would get made into Stepmania simfiles, leading me to Venetian Snares, The Flashbulb, Hrvatski, and others. I quit DDR and Stepmania but this stuff has stayed with me.