Showing posts with label breakcore. Show all posts
Showing posts with label breakcore. Show all posts

Monday, August 7, 2023

The Future Sound Of London - We Have Explosive 2021

fsoldigital.com: 2021

Of course this was up for a modern remix album. Aside from Papua New Guinea, it's possibly FSOL's most well known single. Not that it was their best, oh no. It's just when all of '90s electronic music reached its 'electronica' fever pitch, the blunt, big beat brashness of We Have Explosive made all the rounds of the compilation circuit. One can't help but suspect Brian and Garry made this as stupid-simple as possible, a far cry from all the psychedelic, 'future sounding' music they'd been making since signing with the Mighty Virgin. But hey, the trick worked, We Have Explosive remaining one of their most recognizable productions to this day. Nothing will get you hype speeding down super-sonic racing tracks like hearing those blaring digital alarms and funky guitar licks.

That did have me mulling over a question though: what else can you do with We Have Explosive? Or more importantly, was there anything else I cared to hear? The original and Herd Killing are all I know, and was quite content leaving it at that. Unlike various forms of Cascade and Lifeforms, I've never heard alternates of We Have Explosive floating about, leading me to conclude all that was ever needed out of it was accomplished with the album variants, the extended takes unnecessary to all but completists. And given the FSOL boys have long been uninterested in returning to boshy dance music, there didn't seem much room for further exploration of the track. Still, that doesn't mean they wouldn't give it the ol' London college try.

The original kicks things off, and though given a little extra production beef and flair, it's basically as you remember it in the years 1996 and 1997. Ah, the memories of that utterly bizarre music video with the bobble heads and plugs come rushing back. Implosive, meanwhile, takes things into rockier pastures – or psych-rock in this case, followed upon by a heavy, trip-hop take with Abandoned Housing Blocks Of Prypiat. Jonesing for something more experimental and modern? Tracks like Vaporise and Slide Door will have you covered, all skittery broken beats and minimalist soundscapes – almost sounds like they'd be more at home on an Environments CD.

Okay, so FSOL can take We Have Explosive into some nifty tangents, but c'mon, let's hear some real kick-ass stuff, mates! Detonation basically chops and screws everything up into a funky freak-out, Herd Killing is also given the 2021 're-beefening' treatment, Exploding ramps things up into drum 'n' bass territory, and Exotype... Holy shit, this is some menacing-as-fuck frantic breakcore shite! Ah, the 'what if' possibilities of FSOL going full IDM, eh?

A few more sampledelic groovers round out the rest, including Waiting Your Return, which borrows more from Vit Drowning and Through Your Gills I Breathe than We Have Explosive. Ah sweet, those are some of my favourite 'deep cuts' out of the classic FSOL catalogue. Well played, good sirs, you've given me more than I'd hoped for.

Sunday, October 30, 2022

Speedy J - Ni Go Snix

NovaMute: 1997/2021

The absolute limit ol' Jochem took his experimental side, this one. Of course, in techno circles of the latter end of the '90s, 'experimental' usually meant all manner of noisy rackets and wild distortions. Fair enough, the IDM leagues gaining plenty of critical praise and nifty Chris Cunningham videos for their efforts. Speedy J already had ties to the ranks of Aphex Twin and Autechre from his Artificial Intelligence days, so it'd make sense he'd find his way back there at some point, following similar paths they were already treading. Maybe rope in a couple like-minded chaps for a remix or two. Makes better sense than continuing to work with Banco de Gaia.

As an in-between single following G Spot, I have to imagine Ni Go Snix shocked a lot of folks. So much so that Jochem put a reassuring tag on the record that this was indeed, not, a new single for the up-coming album Public Energy No. 1. Don't worry, then, if it's not to your liking, it's just a one-off dalliance satisfying his need to go abrasive after all the plaudits for going so melodic on his last album. (or is it...!)

Well, just how noisy can one Speedy J track be? Pretty darn noisy, I'd say. Ni Go Snix is basically an electro track, but fed through so much distortion, you're hearing almost nothing but feedback on those bleeps and bloops. It's, like, electrocore, or electore. Ooh, that's one for the genre books! Look, if nonsense words like 'complextro' can get accepted, so can 'electore'. Anyhow, there honestly isn't much to this track beyond just how noisy Speedy J can make it, and with the Snix Mix, he makes it almost unbearably noisy indeed. This is, like hardectro!

Like A Tim doesn't do much with his remix, basically shuffling around the originals sounds for more of a freeform jam. Mike Paradinas, on the other hand give Ni Go Snix the good ol' µ-Ziq treatment, speeding the beats up to his brand of hyper drill 'n' bass action, then throwing in some spastic pad work and twee melodies in support, lending the track a rather Baroque vibe. Y'know, vintage µ-Ziq.

The CD version of this single – and by extension, the Bandcamp upload I snagged - did include a couple remixes for a track that appeared on the forthcoming Speedy J album: Hayfever. The Izm Mix by the hopeless obscure Jeroen van Dorsten turns in a future-shock heavy breaks tune that sounds like what The Future Sound Of London might have done to a Speedy J track if given the chance. The less obscure Sefan Robbers, meanwhile, maintains the future-shockiness, but opts for something a little more drum 'n' bassy, and is quite the sky-high mellow vibe after having gone so through much aural assault prior. How do these remixes stack against the original Hayfever? Heck if I know, I haven't heard Public Energy No. 1 yet. We'll find out soon enough!

Thursday, July 16, 2020

Coma Eye - Insufflated Brine Shrimp

self-released: 2020

(a Patreon Request)

I'm surprised this doesn't happened more often. These Patreon Requests have mostly been as I expected, if not so dominated by a select few. Getting my thoughts on items I've overlooked in the past, or throwing some shine on genres outside my usual wheel-house (so much Japanese music... just so much), that's usually how it goes. Somehow I haven't received requests for anything intended for a roast, as can happen, but I guess I haven't gained a reputation as that sort of review blogger. Come to think of it, I don't think I've gained any sort of reputation. Which is ...good? Like, I have a real life and a real job, and becoming Internet Famous could severely impact that. Yes, even Good Internet Famous (is there a Good Internet Famous?).

Thus getting requests as a means of promotional hype has been exceedingly rare on the Patreon front. I can't imagine my word carries very far or has any influence – I do this as a lark, not as a profession. Folks would have more success sharing things on streaming services than the slim hopes someone may stumble upon this blog and wade through over two-thousand posts to see their stuff given some shine. Then there's the whole 'ethics' of it all, getting paid to potentially hype something up. Never mind I'm quite honest in my feelings over whatever I listen to, there's just this whole assumption, see. Then again, I've actually reviewed promo stuff from my local talent, so where do I get off on this holier-than-Pitckfork shtick?

Speaking of 'local talent', listening to this debut EP from Coma Eye reminds me of the sort of live PA acts I often hear at Vancouver's bi-annual Sequential Circus showcase. Apparently Coma Eye is part of one such scene, hailing from New Orleans but somewhat involved with Erie's electronic music scene. As in, 'Lake Erie' Erie? Wouldn't make sense to have an Erie in Louisiana, now would it? That'd be like having a town called Tsimshian on the Hudson Bay (very local joke).

Won't deny I didn't have high hopes for this after the first couple tracks. IDM can go oh-so very wrong and off the rails without a steady hand, producers too often thinking MOAR stuttery-glitch means MOAR awesome. Coupled with ultra-twee perversions of electro-pop sampling, and the palming of my face is complete whenever I hear that kind of stuff. Coma Eye doesn't go quite that far, but does take a longing glance at the edge of that cliff.

Or maybe my ears just prefer when she takes things down the breakneck acid techno road with HORSE. Or the creepy sludge-glitch of Conquered In The Concord Gel. Or the trippiest-hop of Do You Love Your Granny?. That's the darned thing about these IDM wonks: when no sounds or styles are off limits, they're bound to stumble upon something that connects with the cochlea. Some have better batting averages than other, but even a .500 on a six-track EP ain't too shabby.

Friday, December 21, 2018

Igorrr - Moisissure

Acroplane Recordings: 2008/2009

(a Patreon Request)

Pretty sure I've seen the name Igorrr in the past – one cannot even dabble in Venetian Snares without Igorrr's name getting dropped in association – but as for hearing his stuff, this is virgin territory, my friends. Still, how radically different can he be? You hear one breakcore artist, you've heard them all, amirite? Spastic Amen breaks, hyper editing, an aesthetic cribbed from another genre (ragga, chiptune, death metal, hentai), and a wacky sense of humour letting you know that everything involved is just one huge pisstake. Wait, that all sounds super awesome, and full of variety! Where was I going with this again? Oh yeah, with breakcore artists, you generally know what you're gonna' hear with these guys (re: that list above), but in a scene with dozens of extremely, ah, 'unique' individuals, you can count on something radically different from each one.

Of course, I don't know what specific things I might hear, and I couldn't help but take a peak at Igorrr's Discogs entry before diving in – don't want to be caught too unawares with these dudes. Straight off I'm hit with the word 'Baroque', which has me thinking, “ah, cool, there's gonna' be a lot of orchestral strings in this thing, as heard in some classic Aphex Twin music”. Occasionally, yes, but this Gautier Serre ain't limiting himself to that, nosiree. He's got himself some death metal in that creative cranium of his, which makes sense, baroque and metal sharing many musical traits. Just imagine Toccata And Fugue In D Minor with super-heavy guitar distortion! Oh, it's been done, you say. Like, a lot. Figures.

Anyhow, Moisissure is Igorrr's second album, though initially only as a self-released demo. When he later landed a proper label deal, this and his first demo, Poisson Soluble, were compiled into a double-disc item, but as I was requested to only review this, the first one will have to wait for another day. If I'm so inclined. Can't say I am though, Moisissure the sort of breakcore I'm equally delighted in, yet can't help but facepalm over too.

The baroque segments are nifty, I won't deny. Whether with creepy organs and strings (Valse en Décomposition), piano pieces (Œsophage De Tourterelle, Phasme Obèse), choirs (Liquid Requiem), flamenco guitars (Putrefiunt), or harpsichord (Huille Molle, Moelleux), no classical instrument is under-utilized or spared Igorrr's maniacal hyper-edits, often accompanied by glitched-out, thrashy rhythms. He even dabbles into swing-jazz for Brutal Swing, an old-timey ragtime ditty coupled with digital hardcore blast-beats and headbangin' metal riffs. I approve of this form of amusement making.

Other stuff, however, just leave my eyes rolled in their sockets. Death metal growling, babies crying, phlegm-filled breathing... is this all supposed to be funny, or kinda' serious? I assume the former, but I don't find it so, just annoying. Which, I'm sure, is also the point, creating discomfort in the listener. Aw, why do that, when you can showcase such operatic beauty as in Croute too? Gimme only good feels!

Monday, January 26, 2015

Amon Tobin - Piranha Breaks

Ninja Tune: 1997

It’s time for another game of Wild Suppositional Theories! For this episode, your host asks the simple question, “What is Piranha Breaks, exactly?” It’s sure not a lead single for Amon Tobin’s second album, Permutation, as three of the four tracks on here are exclusive to this EP. It kind of has the feel of a stopgap, a hold-over between Bricolage and Permutation, but those typically contain material only hardcore fans would have interest in (live takes, alternate mixes, etc.) – the music on here is anything but half-assed. Are these just left-overs from the Bricolage sessions, then? It wouldn’t surprise me if he made so much awesome music that he simply couldn’t fit on his first LP due to accursed limited space on physical mediums. Yeah, let’s run with that theory.

For a less ‘fanboyish’ idea, Piranha Breaks is a short exploration of Tobin’s frenetic, jazzy jungle sound. If anything, this EP is a nice summation of the music he’s most identified with in his early career, the surrounding albums broader in their stylistic fusions. Take the classy vibe of Roni Size’s jazzstep, the intense rhythms of ragga and IDM breakcore, and add a little inner city menace as only a member of the Ninja Tune squad can create. Voila, Piranha Breaks in a nutshell. Well, okay, third track Sub Tropic’s a bit more trip-hoppy in pace, but that bassline’s all d’n’b feral nastiness.

And… um, that’s about all I have to say about this EP. It’s only four tracks long, each great but not all that stylistically different from each other. Like, what do you expect of me to do, list exactly how each sounds? The titular cut has a saxophone, Fast Eddie some trumpets, Sub Tropic more trumpets and slap cello, and Hot Pursuit focuses more on its rhythm section. As for those rhythms, yeah they’re cool and intricate and absolute catnip for breaks trainspotters and time-signature students. If you want detailed analysis of their attributes though, maybe try an old issue of XLR8R. About as in-depth I can go with this is ‘brain challenged, sounds cool, me like’. Isn’t that enough? Wait, I just lied about not having anything more to say about Piranha Breaks at the start of this paragraph, didn’t I. Hooray for rambly bullshit, eh.

Okay, this review kinda’ sucks. Amon deserves better, but unfortunately this is yet another case of my real life interfering with my writing life. I won’t bring up the issues here - just know that some situations are incredibly distracting at this time. Hopefully things will resolve itself in short order and this blog won’t suffer for it. Can’t let it overwhelm me, remember the Dr. Alban song It’s My Life and not allow others to suck me into their melodrama. Yeah, already this is getting too personal, and not in the musical anecdotal way I’ll indulge in. Ignore this last paragraph. Piranha Breaks, check it out if you crave a little extra Tobin spice in your diet.

Tuesday, September 2, 2014

Amon Tobin - Bricolage

Ninja Tune: 2007

So much music slips through my ever growing queue of “Must Hear Before I Go Six Feet Under” (I doubt Amazon will deliver to my bomb shelter following the apocalypse). Even with artists and labels I hold in the highest regard, there are unacceptable oversights and gaps on my part. Why has it taken me this long to finally spring for an Amon Tobin album? I like Ninja Tune. Like, really really like them – in a roundabout way, they were among the first 'underground electronic music labels' I dove into. Yet even with a number of their releases taking up space in my towers, one of their primary stars is noticeably absent. It’s like gathering Ultimae records while neglecting Carbon Based Lifeforms, or Hyperdub vinyl while bypassing Burial – you just don't do it, mang!

Right, it’s not like I’ve totally missed out on Tobin’s work, having heard a few of his Cujo works released when he was part of Shadow Records. And while Ninja Tune was quick to pluck him from that label, his sound left an undeniable impression on several up-and-comers featured in future Shadow releases, many finding inspiration in his fusion of jazz-jungle-hop. I’ve heard his work without even hearing his tracks!

Bricolage was his first album for the Ninja squad, and immediately found kindred souls among the likes of Herbaliser and Funki Porcini. All these guys, they loved the jazz vibes just as much as ol’ Adonai Santos de Araújo, and were always eager in finding ways of melding them with contemporary inner-city cool genres like trip-hop and jazzstep. Ol’ Amon though, he knew his production game needed something extra to stand out from the big guns. Bizarrely, he found it with IDM breakcore.

He doesn’t immediately reveal his intents either, the first few tracks finding the comfortable jazzy trip-hop vibe so many associate with Ninja Tune of the mid-to-late ‘90s (who do you think helped define it!). Yet there’s something more intricate going on with the drum programming - less reliant on using sampled breaks as the music’s backbone, and rather as genetic soup for reinterpretation. It’s Amon making future jazz out of classic jazz, and I can’t help but think of Squarepusher’s early work in this context. Not as frenetically experimental as Jenkinson’s material, mind you, but it’s there just the same.

Then Chomp Samba hits with all the feral nastiness of drill-n-bass’ intensity, and you realize you’re not in for the usual Ninja Tune romp. Tracks like One Small Step, Mission, and Bitter And Twisted keep the spazzy breaks going, all the while oozing a creeping menace with discordant cellos, trumpets, vibraphones, and saxaphones (among others). Dubby, trip-jazz-hop cuts like Defocus and The Nasty help keep Bricolage grounded with soul (not to mention some playful samba-stylee in One Day In My Garden), but we’re mostly dealing with aggressive music here, the sort one might expect on Warp rather than Coldcut’s print; a perfect LP for Ninja Tune’s musical growth, then. Welcome home, Amon.

Monday, July 28, 2014

Squarepusher - Numbers Lucent (Original TC Review)

Warp Records: 2009

(2014 Update:
Since this was the first Squarepusher review submitted to TranceCritic - yeah, yeah,
way late in the website's lifespan - I felt it necessary for a brief background summation for the reader base. Seems like redundant information now, but then it's not like I've got a ton of Jenkinson material on this blog either. Man, so many musical gaps, no matter how diligent I remain in buying albums...

This remains a fun throwback EP, and I kinda wish we'd hear a bit more like this from Squarepusher, just for the novelty of it all. Can't see it ever happening though. There's just so much other jazz-stuffs he'd rather be doing than making music for the 'up all night' crowds.)



IN BRIEF: Familiar.

Even in the ‘WTF they be smoking’ realm of IDM, Tom Jenkinson as Squarepusher established himself as one of the more challenging producers to be found. Yet, within those frenzied jazz-fusion drum beats and eclectic abstractions lay carefully considered songs that often rewarded the patient and attentive listener. Small wonder Warp jumped at the chance to sign Tom to a long-term deal, as he fit nicely in a roster that included such IDM wonks like Aphex Twin and Autechre. In the meanwhile since, he’s continued to reward dedicated followers with ever new takes on his sound, and either confounding or mesmerizing the casual passerby (as usual, there’s seldom middle ground with intelligent techno).

His latest avenue - Just A Souvenir - saw the pusher of squares diving into various aspects of underground rock music: garage, funk, psychedelic, prog, kraut – you’d think it was made by some jam band from the 70s if you didn’t know better. In any case, it was once again quite a departure from what folks figure to be Tom’s trademark sound. Perhaps in an effort to throw a bone to his pure electronic fanbase, we have this quickie follow-up EP, Numbers Lucent. Gone are all the guitars, and instead builds upon tracks like Star Time 2. Or, considering Star Time 1 is on here, perhaps this was what he was working on before his muse led him elsewhere. Whatever the case, beyond the ties between both Star Times and similar looking cover art, Numbers Lucent is a mostly different entity from Just A Souvenir.

So, if you’re down for some more Squarepusher funk-slap basslines, spritely keyboard melodies, and skittery jazz-fusion rhythms, the first four tracks here will certainly please. At the same time, though, it all feels a bit ‘been there, done that,’ especially so coming off a string of albums that saw Tom continuously moving in new directions. Cuts like Paradise Garage and Star Time 1 are by no means bad – in fact, they’re quite good; just over-familiar and safe. You get the impression he could have knocked these out at any time in his career. Mind, this feeling may be due to the old-school leanings these tracks take.

If the retro-rave vibes were only hinted at in the first four, Tom takes a full plunge in the final two. Yes, folks, Squarepusher has been bitten by early 90s nostalgia as well. Arterial Fantasy is straight-up old-school hardcore with a Jenkinson twist, and very cool in the process. Illegal Dustbin, on the other hand, goes for the gabber jugular, in a move that’s fun for the novelty factor (Squarepusher! Gabber! WTF!???), but little else.

And there isn’t much more to say about Numbers Lucent. It’s a tidy little EP that fans of Squarepusher will enjoy, and inviting for those who are curious about checking out the man’s work on the cheap. He may not be stretching here, but average Squarepusher remains better than average… a lot of others, really.

Written by Sykonee for TranceCritic.com, 2009. © All rights reserved.

Friday, December 27, 2013

Lodsb - lazer.eyes.love

Force Intel: 2011

When pioneering glitch 'n experimental label Mille Plateaux relaunched in the late '00s, it was swamped by several up-and-comers’ promos looking to join the roster. I mean, when you're new to that scene and hoping to gain prestige, what better way to do so than having a Mille catalogue number attached to your work? Turns out though, some of these promos sent in weren’t weird enough for ol’ Plateaux, but would serve as fine examples of ‘classic’ IDM (bleepy ambient techno, scattershot breaks, etc.). If only there was a label that promoted the stuff still. Since Warp went all shoegaze though, I guess a whole new label was required, hence Mille offshoot Force Intel coming into its brief existence.

So this Lodsb fella' got to release a debut album on the 'net label. The Lord That Knows All apparently knows very little about who's behind the moniker. There isn't even a name assigned to his Discogs page, despite two albums to his credit. Heck, the only reason I know Lodsb is of the male persuasion is because there's a picture of him on his Last.fm profile - still no name, though. Curse those IDM wonks making research difficult.

lazer.eyes.love primarily falls into the breakcore side of IDM, so if you’re a fan of Venetian Snares and the like, this is a good bet for you to download (it was only available as a digital album). The opener, Analogue Arcade, is rather mellow for this stuff, even settling on a pleasant house beat while glitchy harmonics weave in and out. Yeah, you aren’t getting much more of that beat on this release. Second cut Eve lets loose with the cacophonic rhythms, then things go down Squarepusher’s frenetic jazzy acid avenue for a few tracks after. In fact, the next number of tracks all kind of blend together, so short as they are and sharing similar aesthetics, if not actual musical content. It can get to be a bit much though, so thank God Lodsb cuts it back by track six (Bubblegum Hypothesis, if you’re wondering, but it’s not like IDM song titles are meant to make a lick of sense).

Apparently Lodsb has a background in orchestral music study too, which becomes apparent on tracks like Deer Ride, Juno, Rubiq, and Zebra, where arrangements are cut up to form whole new compositions. Heck, Deer Ride forgoes any spastic breaks altogether, and if there is any glitch trickery at play, it sure doesn’t make itself known, sounding as seamless as though Lodsb was conducting a one-hundred-twenty string section himself. Mind, it seems every IDM wonk has to show off his classical capabilities in such a manner, but it’s nice to have such music break up the breakcore on albums like this one.

Of course, music such as this remains incredibly niche, and if even the popular names in this scene hold little interest for you, I doubt lazer.eyes.love will sway your opinion on it. Cool as a curioso, but not much else.

Thursday, November 29, 2012

Venetian Snares - Detrimentalist (Original TC Review)

Planet Mu: 2008

(2012 Update:
This was one of the albums that helped get me out of a writing funk I had in 2008, where I went nearly two months without contributing anything to TC. I think I made a big, melodramatic deal about not "having anything left to say" or some bullshit like that to explain my absence.

Detrimentalist has gone on to be a handy bit of ammunition for many forum arguments over 'awesome intense musics'. I've put many a bro-stepper into place by throwing Eurocore MVP and such in their faces. y0 betta' recognize, son!)


IN BRIEF: You thought this shit was easy?

As Venetian Snares, Aaron Funk has spent the last decade assaulting ears with all kinds of noisy glitchcore, gabber, and drill’n’bass productions, in the process building up a sizable following of aficionados for that sort of thing. Thus, whenever the curious inquire about the genre, Funk’s name is one that is oft repeated. What they’re usually stunned to discover, though, is there is more to the Venetian Snares moniker than distorted beats and scattershot rhythms. Modern classical compositions, chip-tunes, sprinklings of trip-hop and whatnot – it’s certainly an eclectic discography, and with something like “332” disparate albums (though realistically more like a dozen), trying to dive into Venetian Snares new can seem like a terrifying proposition.

So it’s just as well we bring our attention to his latest full-length, Detrimentalist; after all, if you’re looking to get your feet wet, it might as well be something relatively current. And fortunately for the fearful, this album is probably among his most accessible. Like so many, Funk has been bitten by early 90s nostalgia. And like his fellow IDM screwbars and nutballs, this also means dedication to old school hardcore rave. Ragga jungle! Hoovers! Big riffs! Oh shit, yes!

But allow me to reign in my unapologetic enthusiasm for the moment, as there’s more going on here than a simple love-in. This is, after all, Venetian Snares, and the project from Winnipeg never would have gained a well-deserved reputation without providing music that’s oftentimes compelling head-music. For sure, Dentrimentalist has old school vibes bursting at the seams, but when coupled with glitchy noise, confounding time signatures, and spastic breakcore, you have something that’s wholly unique in the process.

To put it bluntly, this some next level shit, motherfuckers! Ragga rave-jungle squared. Beats and patterns that are at once chaotic and infectious. An audio assault you can barely handle, yet crave more once the track ends. There’s acid, hip-hop samples, rhythmic drops that’ll have you moving like you’re suffering from an epileptic seizure. Leonard Nimoy going on about how his eyes and heart are flame (Koonut-Kaliffee lifts a nifty lengthy sample from an old Star Trek episode; the use of “I burn” is especially mint!). Screechy gabber will bludgeon your brain and you’ll thank Funk for it. One of the most common clichés in dance music reviews is that a track will “destroy a dancefloor” but some of the material off Detrimentalist could probably cause mass chaos, were it not for those good-time ecstatic rave riffs keeping a smile on your face.

Eh? Is all this talk of intense rhythms too much for you? Well if so, you could always scurry over to the deadmau5 stage, where you’re guaranteed a clap every second beat and not much else. Still, despite Funk ably holding his frenetic beats together, there are points where it does fly off the rails, and you begin to wonder if he’s about to loose all sense of direction. Flashforward in particular comes off wholly wayward, not only sounding misplaced on the album but directionless overall; as though Funk couldn’t resist throwing in a ‘breakcore-for-breakcore-sake’ track. Detrimentalist needs more of those snappy reggae notes found in Eurocore MVP, not less.

The final two tracks also stray from the general theme Detrimentalist tends to maintain, in that they are more along the lines of some of Venetian Snares‘ previous material. Bebikukorica Nigiri is all chip-tune bleeps, classical chords, and skitter-breaks, and fun in its own unique way. Finally, Miss Balaton dips into analogue ambient waters and orchestral strings before engaging us with rather subdued breakcore, providing us with a relatively soothing bit of music to ease us out of the intensity the rest of the album bombarded us with. Allow me to just add here that I am continuously amazed by these IDM producers’ yin/yang capabilities - they create some of the most ruthlessly noisy music out there, yet will often deliver incredibly gorgeous synth textures within the same album.

So, if you’re still wondering whether Detrimentialist is worth your time, the answer is a definite yes. Even if the notion of drill’n’bass and breakcore seems scary and absurd, this here new album from Venetian Snares should cure you of such concerns. Funk has thrown in more than enough inviting classic EDM conventions to draw in the most cynical of IDM detractors, all the while maintaining his signature complexity throughout.

Things I've Talked About

...txt 10 Records 16 Bit Lolita's 1963 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2 Play Records 2 Unlimited 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 20xx Update 2562 3 Loop Music 302 Acid 36 3FORCE 3six Recordings 4AD 6 x 6 Records 75 Ark 7L & Esoteric 808 State A Perfect Circle A Positive Life A-Wave a.r.t.less A&M Records A&R Records Abandoned Communities Abasi Above and Beyond abstract AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Beyer Adam Ellis Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia AEI Music Aes Dana Afgin Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Airwaves Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alpha Wave Movement Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub Amon Amarth Amon Tobin Amplexus Anabolic Frolic Anatolya Andrea Parker Andrew Heath Androcell Anduin Andy C anecdotes Aniplex Anjunabeats Annibale Records Anodize Another Fine Day Antendex anthem house Anthony Paul Kerby Anthony Rother Anti-Social Network Anzio Green Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apollo 440 Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence Archives Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Engineering Astral Projection Astral Waves Astralwerks AstroPilot AstroPilot Music Asura Asylum Records ATB ATCO Records Atlantic Atlantis atmospheric jungle Atom Heart Atomic Hooligan Atomine Elektrine Atrium Carceri Attic Attoya Audiobulb Records Audion AuroraX Autechre Autistici Autumn Of Communion Auxilary Auxiliary Avantgarde Avatar Records Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. The Prince Of Rap B°TONG B12 Babygrande Balance Balanced Records Balearic ballad Bålsam Banco de Gaia Bandulu Barker & Baumecker Battle Axe Records battle-rap Bauri Beastie Boys Beat Buzz Records Beat Pharmacy Beatbox Machinery Beats & Pieces bebop Beck Bedouin Soundclash Bedrock Records Beechwood Music Benny Benassi Bent Benz Street US Berlin-School Beto Narme Beyond bhangra Bicep big beat Big Boi Big Dada Recordings Big L Big Life Bill Hamel Bill Laswell Bill Leeb BIlly Idol BineMusic BioMetal Biophon Records Biosphere Bipolar Music BKS Black Hole Recordings black metal black rebel motorcycle club Black Swan Sounds Blanco Y Negro Blasterjaxx Bleep Blend Blood Music Blow Up Blue Amazon Blue Hour Blue Öyster Cult blues blues rock Bluescreen Bluetech BMG Boards Of Canada Bob Dylan Bob Marley Bobina Bogdan Raczynzki Bombay Records Bone Thugs-N-Harmony Boney M Bong Load Records Bonobo Bonzai Boogie Down Productions Booka Shade Botchit & Scarper Bows Boxed Boys Noize Boysnoize Records BPitch Control braindance Brandt Brauer Frick Brasil & The Gallowbrothers Band breakbeats breakcore breaks Brian Eno Brian Wilson Brick Records Britpop Brodinski broken beat Brooklyn Music Ltd Bryan Adams BT Bubble Buffalo Springfield Bulk Recordings Burial Burned CDs Bursak Records Bush Busta Rhymes Buttertones bvdub C.I.A. Calibre calypso Canibus Canned Resistor Capitol Records Capsula Captain Hollywood Project Captured Digital Carbon Based Lifeforms Caribou Carl B Carl Craig Carlos Ferreira Carol C Caroline Records Carpe Sonum Novum Carpe Sonum Records Castroe Casual Cat Sun CD-Maximum Ceephax Acid Crew Celestial Dragon Records Cell Celtic Centaspike Cevin Fisher Cheb i Sabbah Cheeky Records chemical breaks Chihei Hatakeyama Children Of The Bong chill out chill-out chiptune Chris Duckenfield Chris Fortier Chris Korda Chris Liebing Chris Sheppard Chris Witoski Christmas Christopher Lawrence Chromeo Chronos Chrysalis Ciaran Byrne cinematic soundscapes Circle of Pines Circular Ciro Berenguer Cirrus Cities Last Broadcast City Of Angels CJ Stone Claptone classic house classic rock classical Claude Young Clear Label Records Clementz Cleopatra Cloud 9 Club Culture Club Cutz Club Tools Cocoon Recordings Cold Spring Coldcut Coldplay coldwave Colette collagist Columbia Com.Pact Records Coma Eye comedy Compilation Comrie Smith Congo Natty Conjure One Connect.Ohm conscious Control Music Convextion Cooking Vinyl Cor Fijneman Corderoy Cosmic Gate Cosmic Replicant Cosmo Cocktail Cosmos Studios Cottonbelly Council Estate Electronics Council Of Nine Counter Records country country rock Covert Operations Recordings Craig Padilla Craig Richards Crazy Horse Cream Creamfields Creedence Clearwater Revival Crockett's Theme Crosby Stills And Nash Crossing Mind Crosstown Rebels crunk Cryo Chamber Cryobiosis Cryogenic Weekend Cryostasis Crystal Moon Cube Guys Culture Beat Curb Records Current Curve cut'n'paste CYAN Cyan Music Cyber Productions CyberOctave Cyclic Law Cygna Cypher 7 Cypress Hill Cyril Secq Czarface D-Bridge D-Fuse D-Topia Entertainment Daar Dacru Records Daddy G Daft Punk Dag Rosenqvist Damian Lazarus Damon Albarn Damon Wild Dan Terminus Dan The Automator Dance 2 Trance Dance Pool Dance With The Dead dancehall Daniel Heatcliff Daniel Lentz Daniel Pemberton Daniel Wanrooy Danny Howells Danny Tenaglia Dao Da Noize Daphni dark ambient dark disco dark psy darkcore darkside darkstep darksynth darkwave Darla Records Darren Emerson Darren McClure Darren Nye DAT Records Databloem dataObscura David Alvarado David Bickley David Bridie David Cordero David Guetta David Morley DDR De-tuned Dead Coast Dead Melodies Deadmau5 Death Grips death metal Death Row Records Decimal Deconstruction Dedicated Deejay Goldfinger Deep Dish Deep Forest deep house Deeply Rooted House Deepwater Black Deetron Def Jam Recordings Del Tha Funkee Homosapien Delerium Delsin Deltron 3030 Denshi Danshi Depeche Mode Der Dritte Raum Derek Carr Detroit Deviant Records Devin Underwood Devroka Deysn Masiello DFA DGC diametric. Dido Dieselboy Different DigiCube Dillinja Dirk Serries dirty house Dirty South Dirty Vegas Dis Fig disco Disco Gecko disco house Disco Pinata Records disco punk Discover (label) Disky Disques Dreyfus Distant System Distinct'ive Breaks Disturbance Divination DJ 3000 DJ Brian DJ Craze DJ Dag DJ Dan DJ Dean DJ Gonzalo DJ Heather DJ John Kelley DJ John Storm DJ Merlin DJ Mix DJ Moe Sticky DJ Observer DJ Premier DJ Q-Bert DJ Shadow DJ Soul Slinger DJ-Kicks Djen Ajakan Shean DJMag DMC DMC Records Doc Scott Dogon Dogwhistle Dooflex Doom Poets Dopplereffekt Dossier Dousk downtempo dowtempo Dr. Alban Dr. Atmo Dr. Dre Dr. Hook & The Medicine Show Dr. Octagon Dragon Quest dream house dream pop DreamWorks Records Drexciya drill 'n' bass Dronarivm drone Dronny Darko drum 'n' bass DrumNBassArena drumstep drunken review dub Dub Pistols dub techno Dub Trees Dubfire dubstep Dubtribe Sound System DuMonde Dune Dusted Dyadik Dynatron E-Mantra E-Z Rollers Eardream Music Earth Earth Nation Earthling Eastcoast Eastcost Eastern Dub Tactik EastWest Eastworld Eat Static EBM Echodub Ed Rush & Optical Editions EG EDM World Weekly News Ektoplazm Electric Universe electro Electro House Electro Sun electro-funk electro-pop electroclash Electronic Dance Essentials Electronic Music Guide Electrovoya Elektra Elektrolux em:t EMC update EMI Emiliana Torrini Eminem Emmerichk Emperor Norton Empire enCAPSULAte Encym Engine Recordings Enigma Enmarta Ensiferum Enya EP Epic epic trance EQ Recordings Equal Stones Erased Tapes Records Eric Borgo Erik Vee Erol Alkan Escape Esko Barba Esoteric Reactive Espacio Cielo ethereal Etic Etnica Etnoscope Euphoria euro dance eurodance eurotrance Eurythmics Eve Records Everlast Ewan Pearson Exitab experimental Eye Q Records Ezdanitoff F Communications Fabric Facture Fade Records Faex Optim Faint Faithless Falcon Reekon Fallen False Mirror fanfic Fantastisizer Fantasy Enhancing faru Fatboy Slim Fax +49-69/450464 Fear Factory Fedde Le Grand Fehrplay Feist Fektive Records Felix da Housecat Fennesz Ferry Corsten FFRR Fictivision field recordings Filter filters Final Fantasy Firescope Five AM Fjäder Flashover Recordings Floating Points Flowers For Bodysnatchers Flowjob Fluke Fluxion Flying Lotus folk Fontana footwork Force Intel Fountain Music Four Tet FPU Frame Francis M Gri Frank Bretschneider Frankie Bones Frankie Knuckles Frans de Waard Fred Everything freestyle French house Front Line Assembly Frou Frou fsoldigital.com Fugees full-on Fun Factory funk future garage Future Sound Of London Futuregrapher futurepop g-funk G-Prod gabber Gabriel Le Mar Gaither Music Group Galaktlan Galati Gang Starr gangsta garage Gareth Davis Gary Martin Gas Gasoline Alley Records Gee Street Geffen Records Gel-Sol Genesis Geometry Combat George Issakidis Gerald Donald Get Physical Music ghetto Ghostface Killah Ghostly International Glacial Movements Records glam Gliese 581C glitch Glitch Hop Global Communication Global Underground Globular goa trance Goasia God Body Disconnect Gorillaz gospel Gost goth Grammy Awards Gravediggaz Green Bay Wax Green Day Grey Area Greytone Gridlock grime Groove Armada Groove Corporation Grooverider grunge Guru Gustaf Hidlebrand Gusto Records GZA H:U:M H2O Records Haddaway Halgrath happy hardcore hard house hard rock hard techno hard trance hardcore Hardfloor Hardly Art hardstyle Harlequins Enigma Harmless Harmonic 33 Harmonic Resonance Recordings Harold Budd Harthouse Harthouse Mannheim Hawtin Headphone Hearts Of Space Hed Kandi Hefty Records Helen Marnie Hell Hercules And Love Affair Hernán Cattáneo Hexstatic Hi-Bias Records Hic Sunt Leones Hide And Sequence Hiero Emperium Hieroglyphics High Contrast High Note Records Higher Ground Higher Intelligence Agency Hilyard hip-hop hip-house hipno Hollywood Burns Home Normal Honest Jon's Records Hooj Choons Hope Records horrorcore Hospital Records Hot Chip Hotflush Recordings house Howie B Huey Lewis & The News Human Blue Humanoid Hybrid Hybrid Leisureland Hymen Records Hyperdub Hypertrophy Hypnotic Hypnoxock I Awake I-Cube i! Records I.F. I.F.O.R. I.R.S. Records Iboga Records Icarus Music Ice Cube Ice H2o Records ICE MC IDM Iempamo Ignis Fatum Igorrr Ikjoyce illbient ILUITEQ Imogen Heap Imperial Dancefloor Imploded View In Charge In Trance We Trust Incoming Incubus Indica Records indie rock Indisc Industrial Infastructure New York Infected Mushroom Infinite Guitar influence records Infonet Inhmost Ink Midget Inner Ocean Records Innovative Leisure Records Insane Clown Posse Inspectah Deck Instinct Ambient Instra-Mental Intellitronic Bubble Inter-Modo Interchill Records Internal International Deejays Gigolo Interscope Records Intimate Productions Intuition Recordings ISBA Music Entertainment Ishkur Ishq Island Def Jam Music Group Island Records Islands Of Light Italians Do It Better italo disco italo house Item Caligo J-pop Jack Moss Jackpot Jacob Newman Jafu Jake Stephenson Jam and Spoon Jam El Mar James Blake James Holden James Horner James Lavelle James Murray James Zabiela Jamie Jones Jamie Myerson Jamie Principle Jamiroquai Javelin Ltd. Jay Haze Jay Tripwire Jaydee jazz jazz dance jazzdance jazzstep Jean-Michel Jarre Jefferson Airplane Jerry Goldsmith Jesper Dahlbäck Jessy Lanza Jimmy Van M Jiri.Ceiver Jive Jive Electro Jliat Jlin JMJ Joel Mull Joey Beltram John '00' Fleming John Acquaviva John Beltran John Digweed John Graham John Kelly John O'Callaghan John Oswald John Shima Johnny Cash Johnny Jewel Jon Hester Jonny L Jori Hulkkonen Joris Voorn Jørn Stenzel Josh Christie Josh Wink Journeys By DJ™ LLC Joyful Noise Recordings Juan Atkins juke Jump Cut jump up Jumpin' & Pumpin' jungle Junior Boy's Own Junkie XL Juno Reactor Jupiter 8000 Jurassic 5 Kaico Kay Wilder KDJ Keith Farrugia Ken Ishii Kenji Kawai Kenny Glasgow Keoki Keosz Kerri Chandler Kevin Braheny Kevin Yost Kevorkian Records Khetzal Khooman Khruangbin Ki/oon Kid Koala Kiko Killing Joke Kinder Atom Kinetic Records King Cannibal King Midas Sound King Tubby Kitaro Klang Elektronik Klaus Schulze Klik Records KMFDM Koch Records Koichi Sugiyama Kolhoosi 13 Komakino Kompakt Kon Kan Kool Keith Kozo Kraftwelt Kraftwerk Krafty Kuts Kranky krautrock Kriistal Ann Krill.Minima Kris O'Neil Kriztal KRS-One Kruder and Dorfmeister Krusseldorf Kubinski KuckKuck Kulor Kurupt Kwook L.B. Dub Corp L.S.G. L'usine La Luz Lab 4 Ladytron LaFace Records Lafleche Lamb Lange Large Records Lars Leonhard Laserlight Digital LateNightTales Latin Laurent Garnier Layer 3 LCD Soundsystem Le Moors Leaf Leama and Moor Lee 'Scratch' Perry Lee Burridge Lee Norris Leftfield Leftfield Records Legacy Legiac Legowelt Lemony Records Leon Bolier Les Disques Du Crépuscule LFO Linear Labs Lingua Lustra Lionel Weets Liquid Frog Records liquid funk Liquid Sound Design Liquid Stranger Liquid Zen Literon Live live album LL Cool J lo fi Loco Dice Lodsb LoFi London acid crew London Classics London Elektricity London Records 90 Ltd London-Sire Records LongWalkShortDock Loop Guru Loreena McKennitt Lorenzo Masotto Lorenzo Montanà loscil Lost Language Lotek Records Loud Records Louderbach Loverboy Lowfish Luaka Bop Lucette Bourdin Luciano Luke Slater Lunarian Records Lustmord M_nus M.A.N.D.Y. M.I.K.E. Mack 10 Madonna Magda Magik Muzik Mahiane Mali Malignant Records Mammoth Records Mantacoup Marc Simz Marcel Dettmann Marcel Fengler Marco Carola Marco V Marcus Intalex Mark Farina Mark Norman Mark Pritchard Markus Schulz Marshmello Martin Allin Martin Cooper Martin Nonstatic Märtini Brös Marvin Gaye Maschine Massimo Vivona Massive Attack Masta Killa Master Margherita Matthew Dear Max Graham maximal Maxx MCA MCA Records McProg Meanwhile Meat Loaf Median Project Medicine Label Meditronica Melusine Records Memex Menno de Jong Mercury Merr0w Mesmobeat metal Metal Blade Records Metamatics Method Man Metro Area Metroplex Metropolis MF Doom Miami Bass Miami Beach Force Miami Dub Machine Michael Brook Michael Jackson Michael Mantra Michael Mayer Mick Chillage micro-house microfunk Microscopics MIG Miguel Migs Mike Saint-Jules Mike Shiver Miktek Mille Plateaux Millennium Records Mind Distortion System Mind Over MIDI mini-CDs minimal minimal tech-house Ministry Of Sound miscellaneous Misja Helsloot Miss Kittin Miss Moneypenny's Mistical Mixmag Mixmaster Morris Mo Wax Mo-Do MO-DU Moby Model 500 modern classical Modeselektor Mohlao Moist Music Moljebka Pvulse Moodymann Moonshine Morgan Morphic Resonance Morphology Moss Covered Technology Moss Garden Motech Motionfield Motorbass Mount Shrine Move D Moving Shadow Mr. Scruff Mujaji Murk Murmur Mushy Records Music link Music Man Records musique concrete Mutant Sound System Mute MUX Muzik Magazine My Best Friend Mystery Tape Laboratory Mystica Tribe Mystified N-Trance Nacht Plank Nadia Ali Nano Records Napalm Records Nas Nashville Natural Life Essence Natural Midi Nature Sounds Naughty By Nature Nav Bhinder Nebula Neil Young Neo Ouija Neo-Adventures Neon Droid Neotantra Neotropic nerdcore Nervous Records Nettwerk Neurobiotic Records neurofunk Neuropa Records New Age New Beat New Jack Swing New Order new wave Nic Fanciulli Nick Höppner Night Hex Night Time Stories Nightmares On Wax Nightwind Records Nimanty Nine Inch Nails Ninja Tune Nirvana nizmusic No Mask Effect Nobuo Uematsu noise Noise Factory Records Nomad Nonesuch Nonplus Records Nookie Nordic Trax Norken Norman Cook Norman Feller North South Northumbria Not Now Music Nothing Records Nova NovaMute NRG Ntone nu-italo nu-jazz nu-metal nu-skool Nuclear Blast Nuclear Blast Entertainment Nulll Nunc Stans Nurse With Wound NXP Nyquist Oasis Ocelot Octagen Offshoot Offshoot Records Ol' Dirty Bastard Olan Mill Old Europa Cafe old school rave Ole Højer Hansen Olga Musik Olien Oliver Lieb Olivier Orand Olsen OM Records Omni Trio Omnimotion Omnisonus One Little Indian Onyx Oophoi Oosh Open Open Canvas Opium Opus III orchestral Original TranceCritic review Origo Sound Orkidea Orla Wren Ornament Ostgut Ton Ott Ottsonic Music Ouragan Out Of The Box OutKast Outmosphere Records Outpost Records Overdream Owl P-Ben Pale Glow Paleowolf Pan Sonic Pantera Pantha Du Prince Paolo Mojo Parental Advisory Parlaphone Part-Sub-Merged Pascal F.E.O.S. Past Inside The Present Patreon Patrick Dream Paul Moelands Paul Oakenfold Paul van Dyk Pendulum Pentatonik Perfect Stranger Perfecto Perturbator Pet Shop Boys Petar Dundov Pete Namlook Pete Tong Peter Andersson Peter Benisch Peter Broderick Peter Gabriel Peter Tosh Phantogram Phonothek Photek Phutureprimitive Phynn PIAS Recordings Pinch Pink Floyd Pioneer Pitch Black PJ Harvey Plaid Planet Dog Planet Earth Recordings Planet Mu Planetary Assault Systems Planetary Consciousness Plastic City Plastikman Platinum Platipus Pleq Plump DJs Plunderphonic Plus 8 Records PM Dawn Poker Flat Recordings Polar Seas Recordings Pole Folder politics Polydor Polytel pop Popular Records Porya Hatami positivesource post-dubstep post-punk power electronics Prince Prince Paul Prins Thomas Priority Records Private Mountain Procs Profondita prog prog metal prog psy prog rock prog-psy progress house Progression progressive breaks progressive house progressive rock progressive trance Prolifica Proper Records Prototype Recordings protoU Pryda psy chill psy dub Psy Spy Records psy trance psy-chill psy-dub psychedelia Psychick Warriors Ov Gaia Psychomanteum Psychonavigation Psychonavigation Records Psycoholic Psykosonik Psysolation Public Enemy Pulse-8 Records punk punk rock Pureuphoria Records Purl Purple Soil Push PWL International Quadrophonia Quality Quango Quantic Quantum Quinlan Road R & S Records R'n'B R&B Ra Rabbit In The Moon Radio Slave Radioactive Radioactive Man Radiohead Rae Raekwon ragga Rainbow Vector raison d'etre Raja Ram Ralf Hildenbeutel Ralph Lawson RAM Records Randal Collier-Ford Random Review Rank 1 rant Rapoon RareNoise Records Ras Command Rascalz Raster-Noton Ratatat Raum Records rave RCA React Rebecca & Nathan Recycle Or Die Red Fog Red Jerry Redman Refracted reggae ReKaB REKIDS remixes Renaissance Renaissance Man Rephlex Reprise Records Republic Records Resist Music Restless Records RetroSynther Reverse Alignment Reverse Pulse Rhino Records Rhys Fulber Ricardo Villalobos Richard Durand Richard Stonefield Riley Reinhold Ringo Sheena Rising High Records RnB Roadrunner Records Robert Hood Robert Miles Robert Oleysyck Robert Rich Roc Raida rock rock opera rockabilly rocktronica Roger Sanchez ROIR Rollo Roman Ridder Rough Trade Rub-N-Tug Ruben Garcia Rudy Adrian Ruffhouse Records Rumour Records Running Back Ruptured World Ruthless Records RX-101 Rykodisc RZA S.E.T.I. Saafi Brothers Sabled Sun SadGirl Saitoh Tomohiro Sakanaction Salt Tank Salted Music Salvation Music Samim Samora sampling Samurai Red Seal Sanctuary Records Sander van Doorn Sandoz Sandwell District SantAAgostino Saphileaum Sarah McLachlan Sash Sasha Saul Stokes Scandinavian Records Scann-Tec sci-fi Science Scooter Scott Grooves Scott Hardkiss Scott Stubbs Scuba Seán Quinn Seaworthy Segue Sense Sentimony Records Sequential Seraphim Rytm Setrise Seven Davis Jr. Sghor sgnl_fltr Shackleton Shaded Explorations Shaded Explorer Shadow Records Sharam Shawn Francis shoegaze Shpongle Shuta Yasukochi Si Matthews Side Effects SideOneDummy Records Sidereal Signature Records SiJ Silent Season Silent Universe Silentes Silentes Minimal Editions Silicone Soul silly gimmicks Silver Age Simian Mobile Disco Simon Berry Simon Heath Simon Posford Simon Scott Simple Records Sinden Sine Silex single Single Gun Theory Sire Records Company Six Degrees Sixeleven Records Sixtoo ska Skanfrom Skare Skin To Skin Skua Atlantic Slaapwel Records Slam Sleep Research Facility Slinky Music Slowcraft Records Sly and Robbie Smalltown Supersound SME Visual Works Inc. SMTG Limited Snap Sneijder Snoop Dogg Snowy Tension Pole soft rock Soiree Records International Solar Fields Solaris Recordings Solarstone Soleilmoon Recordings Solieb Solieb Digital Solipsism Soliquid Solstice Music Europe Solvent Soma Quality Recordings Songbird Sony Music Entertainment SOS soul Soul Temple Entertainment soul:r Souls Of Mischief Sound Of Ceres Soundgarden Sounds From The Ground soundtrack southern rap southern rock space ambient Space Dimension Controller space disco Space Manoeuvres space music space synth Spacetime Continuum Spaghetti Recordings Spank Rock Special D Specta Ciera speed garage Speedy J SPG Music Sphäre Sechs Spicelab Spielerei Spinefarm Records Spiritech spoken word Sport Spotify Suggestions Spotted Peccary Spring Hill SPX Digital Spy vs Spice Squarepusher Squaresoft Stacey Pullen Stanton Warriors Star Trek Stardust Statrax Stay Up Forever Stealth Sonic Recordings Stephanie B Stephen Kroos Stereolab Steve Angello Steve Brand Steve Lawler Steve Miller Band Steve Porter Steven Rutter Stijn van Cauter Stimulus Timbre Stone Temple Pilots Stonebridge Stormloop Stray Gators Street Fighter Stuart McLean Studio K7 Stylophonic Sub Focus Subharmonic Sublime Sublime Porte Netlabel Subotika Substance Suction Records Suduaya Suicide Squeeze SUN Project Sun Station Sunbeam Sunday Best Recordings Sunscreem Suntrip Records Supercar Superstition surf rock Susumu Yokota Sven Väth SVLBRD Swayzak Sweet Trip swing Switch Swollen Members Sykonee Survey Sylk 130 Symmetry Sync24 Synergy Synkro synth pop synth-pop synthwave System 7 Tactic Records Take Me To The Hospital Tall Paul Tammy Wynette Tangerine Dream Tau Ceti Taylor Tayo tech house Tech Itch Digital Tech Itch Recordings tech-house tech-step tech-trance Technical Itch techno technobass Technoboy Tectonic Telefon Tel Aviv Telstar Terminal Antwerp Terra Ferma Terror Cell Terry Lee Brown Jr Tetsu Inoue Textere Oris The Angling Loser The B-52's The Beach Boys The Beatles The Black Dog The Boats The Brian Jonestown Massacre The Bug The Chemical Brothers The Circular Ruins The Clash The Council The Cranberries The Crystal Method The Digital Blonde The Dust Brothers The Field The Frozen Vaults The Gentle People The Glimmers The Green Kingdom The Grey Area The Grid The Hacker The Herbaliser The Human League The Irresistible Force The KLF The Micronauts The Misted Muppet The Movement The Music Cartel The Null Corporation The Oak Ridge Boys The Offspring The Orb The Police The Prodigy The Real McCoy The Roots The Sabres Of Paradise The Shamen The Sharp Boys The Sonic Voyagers The Squires The Stills-Young Band The Stray Gators The Tea Party The Tragically Hip The Velvet Underground The Wailers The White Stripes The Winterhouse themes Thievery Corporation Third Contact Third World Tholen Thrive Records Tiefschwarz Tiësto Tiga Tiger & Woods Tijuana Panthers Time Life Music Time Warp Timecode Timestalker Tipper Tobias Tocadisco Todd Terje Toki Fuko Tom Middleton Tom Tom Club Tomas Jirku Tomita Tommy '86 Tommy Boy Ton T.B. Tone Depth Tony Anderson Sound Orchestra Too Pure Tool tools Topaz Tosca Toto Touch Touched Tourette Records Toxik Synther Tracing Xircles Traffic Entertainment Group trance Trancelucent Tranquillo Records Trans'Pact Transcend Transformers Transient Records trap Trax Records Trend Trentemøller Tresor tribal Tricky Triloka Records trip-hop Trishula Records Tristan Troum Troy Pierce TRS Records Tru Thoughts Tsuba Records Tsubasa Records Tuff Gong Tunnel Records Turbo Recordings turntablism TUU TVT Records Twisted Records Type O Negative Týr U-God U-Recken U2 U4IC DJs Überzone Ugasanie UK acid house UK Garage UK Hard House Ultimae Records Ultra Records Umbra Underworld Union Jack United Dairies United DJs Of America United Recordings Universal Motown Universal Music Universal Records Universal Republic Records UNKLE Unknown Tone Records Unusual Cosmic Process UOVI Upstream Records Urban Icon Records Utada Hikaru V2 Vagrant Records Valanx Valiska Valley Of The Sun Vangelis Vap VAST Vector Lovers Venetian Snares Venonza Records Vermont Vernon Versatile Records Verus Records Verve Records VGM Vibrant Music Vice Records Victor Calderone Victor Entertainment Vidna Obmana Viking metal Vince DiCola Vinyl Cafe Productions Virgin Virtual Vault Virus Recordings Visionquest Visions Vitalic vocal trance Vortex Voxxov Records Voyage Wagram Music Waki Wanderwelle Warmth Warner Bros. Records Warp Records Warren G Water Music Dance Wave Recordings Wave Records Waveform Waveform Records Wax Trax Records Way Out West WC WEA Wednesday Campanella Weekend Players Weekly Mini-Review Werk Discs Werkstatt Recordings WestBam Westside Connection White Cloud White Swan Records Wichita Will Saul William Orbit Willie Nelson Wintersun world beat world music writing reflections Wrong Records Wu-Tang Clan Wurrm Wyatt Keusch Xerxes The Dark XL Recordings XTT Recordings Yahgan Yamaoka Yello Yes Ylid Youth Youtube YoYo Records Yul Records zakè Zenith ZerO One Zoharum Zomby Zoo Entertainment ZTT Zyron ZYX Music µ-Ziq