Big-room techno that sticks too close to a formula.
Florido also isn't shy of working with the occasional melody or emotive atmosphere (which can sound inspired by Hawtin's most famous alias, Plastikman), a willingness that helps give Multiverse some character. The solemn sustained pads of the three original tracks seem to steer him away from at least some of the more theatrical impulses of this type of techno, and elements of "Multiverse," in particular, have a touch of class. But even so, the insistence on creating moments hinders these tracks.
Why, for example, did the otherwise nicely restrained "Omniverse" need a drum roll, an effects crescendo and white noise blast when the beats dropped? Matador, a key artist on Minus, Hawtin's other label, lets off more fireworks on his trance-fuelled remix of "Multiverse." He brightens the synths, toughens the kick and goes for broke in the breakdown. Most dance music is, of course, built on formulas, but it's still disappointing to see one of techno's original pioneering labels following one so slavishly.