Todd Edwards was hugely influential to the development of UK garage. Like fellow Americans Masters At Work, his skippy house rhythms were adopted by the scene here in the UK with special attention paid to his use of sampling. Edwards' approach was to clip elements of the vocal to create a staccato delivery: leaving traces of an actual song reduced to something akin to another, almost percussive instrument. His remix of St Germain's 'Alabama Blues' (1995) is identified as a major turning point within club music. (Edwards is also notable for his subsequent collaborations with Daft Punk.)
In March of this year he released 'I Might Be' through audio-visual label Scion A/V. The project and its remixes are testament to the existence and continued relevance of Reynolds' Hardcore Continuum with reworks coming from post-dubstep talent Joy Orbison and garage producer MJ Cole [who it should be noted started his recording career as tape operator for drum & bass label SOUR].
In terms of looking for more refined examples of visual referents for music within this point of the continuum, I'm noting the artwork that was created (top image). Unfortunately I can't find a designer credit but there is an additional video promoting the release below which furthers a concept of the esoteric/cosmic/kaleidoscopic meeting sophisticated typography.
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