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A bigger gap preceded the release of his next proper LP for Warp, but In a Space Outta Sound finally appeared in March 2006, while 2008's Thought So. Two years later, Evelyn delivered his fourth LP, Mind Elevation. Following on its heels was a volume in the Studio !K7 mix series DJ-Kicks. In 2000, NoW produced the first new track by De La Soul in several years, included on an EP - Sound of N.O.W - featuring the rap pioneers. The same was also true for 1999's Carboot Soul, Evelyn's first album as part of a deal with American indie label Matador for domestic distribution. Still involved with the same sorts of genre-spanning sampler-and-sequencer experiments, Smoker's Delight was also less obvious, suited more to repeat listenings than previous material. Following a four-year hiatus, Evelyn resurfaced with a track on the Mo' Wax Headz compilation and, soon after, Smoker's Delight, basically an instrumental hip-hop album with a distinctively British eclecticism. Headz The group nonetheless disbanded following Science's release, with early contributor Kevin Harper leaving to pursue a DJ career and Evelyn turning out a smattering of house tracks on Warp's Nucleus subsidiary before settling into bedroom woodshed mode. The subsequent album laid a good deal of the groundwork for the downtempo experimental hip-hop/electro-funk worked over by Mike Paradinas, Luke Vibert, Spacer, and others, and earned the group a secure spot among techno's select crew of next-step innovators. Formed in the late '80s in West Yorkshire as an extension of Evelyn and company's b-boy crew the Soul City Rockers, NoW's first singles, 'Dextrous' and 'Aftermath,' were both highly regarded, and the latter shot into the U.K. NoW's debut album, A Word of Science, was - along with early tracks by LFO, Tuff Little Unit, and Tricky Disco - a crucial bridge between the competing influences of New York house and electro, Detroit techno and soul, London rave and acid, and the burgeoning eclecticism of the years to come.

A Word of Science Originally the combined project of George Evelyn and Kevin 'Boywonder' Harper - the latter of whom was eventually replaced by Robin Taylor-Firth - Nightmares on Wax became one of the brightest spots on the post-rave British techno map of the early '90s.

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