Showing posts with label horrorcore. Show all posts
Showing posts with label horrorcore. Show all posts

Friday, December 13, 2019

Swollen Members - Balance

Battle Axe Records: 1999

I don't always look back on my time working a little music shop in the hinterlands of British Columbia in the best of lights (so bored, so little pay...), but I do appreciate it expanding my pre-Audio Galaxy music consumption. Ordering in all the electronic music I wanted was no small thing, and it wasn't long before my peers came to me with requests as well. This eventually drew the attention of connoisseurs of other genres, particularly underground hip-hop. For sure they helped me clue into Wu-Tang Clan and OutKast, but without these folks asking for acts like Hieroglyphics or Jurassic 5, where would my rap knowledge be? Not terribly good, I wager.

Swollen Members was another such unknown entity. I'm sure a number of my Canadian brethren are wondering, how can that be? For a time, the group helmed by Mad Child and Prevail was one of the biggest rap acts in the country, only ceding their time at the top when Drake came along as the New Canadian Hotness. This is true, but before their big break with the album Bad Dreams, they debuted with this record, Balance. And as the current Top Canadian Rap Act was then Rascalz, Swollen Members had to bide their time in the underground. For there can be only one Canadian Rap Act in the public eye at any given time. I honestly have no idea how or why this is so, I just know it to be so.

In any event, I doubt Swollen Members could have become an overnight sensation even if they wanted to. Their style was always heavy on themes of the occult, not exactly mainstream friendly, and rather fringe even back in the '90s. It honestly still boggles my mind that an act that had Mad Child rapping about witches and demons would go on to have any radio play, but then I suppose Rascalz weren't doing so hot, and Canada needed something to fill their One (1) Popular Rap Act quota. Balance generated more than enough buzz to get record execs looking.

For a young white dude with some dorky traits, hearing another white dude rap about dorky things while in the presence of dope-as-fuck rappers like Del Tha Funkee Homosapein, Everlast, and Dilated Peoples, producers like The Alchemist, plus scratch masters like Mix Master Mike and Kut Masta Kurt, you bet this was right up my alley! Not that this is some horrorcore schlock, Swollen Members sticking to most traditional 'backpacker' rap topics about how lyrically dope they are and all good stuff. They just use unconventional metaphors, is all, with moody, minimalist beats, pianos, guitars, strings, and chants to back them up. The only time this album gets 'fun' is on the Del cut Left Field, which sounds like a tune from one of his own albums, Swollen Members guesting.

And yet, despite quite liking Balance, I never followed this group after. Sadly, Canadian over-hype has a way of sullying a good thing.

Tuesday, October 9, 2018

GosT - Possessor

Blood Music: 2018

If I'd been more slack in my review schedule, I could have had this album out for a spiffy Halloween date. Nothing spookier than demon possession, with The Exorcist often hailed as one of the most frightening movies ever committed to celluloid. I wonder though, is demon possession really a Halloween thing? Like, the Church Of Satan, from which GosT takes a lot of inspiration from, exists year-round, so most things associated with Hellspawn, Beelzebub, and the whole kebab would be as well. Heck, I remember in ye' olde date of June 6, 2006, a big media blitz surrounding a scary movie about Satan or something (a remake of The Omen, I believe?), and that's as far from late October as you can get without being April 30. Regardless, despite the latter half of October being dedicated to all things spooky, scary, and devilish, something like demon possession is probably considered a phenomenon priests must be vigilant against all days of the year. If you buy into that sort of thing, anyway.

Like, I appreciate The Exorcist as a white-knuckle, psyche-mauling thriller, but despite my name, I'm not Christian. The religious implications of that movie and the events its based upon don't phase or frighten me. That said, I cannot deny GosT's Possessor is one of the few times that I've been suitably unnerved listening to music. And considering the amount of dark ambient I've listened to, that's no mean feat.

There's no denying hearing guttural Latin screamed like a wailing banshee will scare the bejeezus out of any soul, but too often I've heard it used as little more than a jump-scare, especially in the context of music. A lot of high-BPM hardcore loves its Exorcist samples, which is fine in amplifying the extreme nature of that genre, but it doesn't actually fill me with fear. Hearing GosT use it in the chaotic, cacophonic climax of closer Commandment though, sweet merciful God, it makes me want to reach for a rosemary.

While it's not all Hell-shrieks in Possessor, GosT does play things out more viciously than even his usual aggressive fare. Sigil and Malum get more on a darkwave vibe, The Powler and Loudas Deceit reach back to GosT's electro-house roots (with some requisite horror movie strings and samples, 'natch), while Shiloh's Lament is a fierce slice of apocalyptic outrun, but these are the album's outliers. GosT generally sludge his tracks right down before unleashing a heavy, thrashy assault of synths and samples, letting you know under no uncertain terms that the endtimes are nigh, and GosT, possessed by Baal, is leading the charge.

Still, it does sometimes come off corny to my ears. There's only so much “this are serious horror music!” I can take before it crosses into the realms of parody, the sort of thing low-grade death metal is rightfully mocked for. For the most part though, GosT toes the line well enough, such that my eyes are buggin' out rather than rollin' out.

Sunday, September 16, 2018

Dr. Octagon - Moosebumps: An Exploration Into Modern Day Horripilation

Bulk Recordings: 2018

And I thought the wait for a Deltron 3030 sequel took forever. Right, Dr. Octagon has popped up here and there throughout Kool Keith's career, but what folks truly clamoured for was Dan The Automator getting back in the studio with him, rekindling the same twisted synergy that made Dr. Octagonecologyst the cult classic it remains to this day. The concept is just so strange, that all the weirdo conceptual rappers ever since haven't quite matched the bizarro sci-fi horrorcore porn world that Dr. Octagon inhabits. And those who do almost inevitably sound like they're trying too hard to be shocking and twisted for its own sake, never finding the effortless cool that Kool Keith brings to the project.

Somehow though, the stars, planets, stethoscopes and Venus mounds all aligned once more to bring Keith and Dan back together for the follow-up album every was hoping to hear... oh, around twenty years ago, if we're being honest. Yeah, fans of Dr. Octagon are happy they've gotten anything at this point, but they'd also long made their peace that odds were slim it would happen at all. Keith had moved onto plenty other things, Dan had moved onto plenty other things (with some unexpected commercial success along the way), and even DJ Q-Bert was having a successful solo career, with little need to be The DJ in an antiquated notion of what constitutes a 'rap group' these days. Heck, all you need is a bunch of mumbling autotune and some bare-bones 808 drum synths for a hit these days. Who's got time for cryptic lewd lyrics about... y'know, I couldn't explain what Dr. Octagon's going on about even if I tried.

What I can tell you, however, is this new album of Moosebumps: An Exploration Into Modern Day Horripilation, is just about everything I could have hoped for in a proper follow-up of the project. I've never met an Automator beat I didn't like, and though Dan could have gone overboard on production as he did in the Deltron sequel, he keeps things mostly on that classic boom-bap simplicity, throwing in mint break samples, orchestral swells, twitchy violin touches (one of the first album's defining characteristics), aggressive guitar licks (care of Gary Holt), and quirky sci-fi clips as needed. Though filled with vividly weird imagery and off-kilter wordplay, Keith doesn't have quite the same level of instantly memorable “WTF?” lines in this outing. Still, he rides Dan's beats with trademark effortless cool, making you wonder why the Hell they didn't reconvene sooner. Meanwhile, Q-Bert does his usual scratch trickery, and even gets another extended solo showcase in Bear Witness IV.

You know what I always hoped to hear though? A back-and-forth between Automator's two famed cult classic projects, Dr. Octagon and Deltron 3030. And holy shit, we get it in 3030 Meets The Doc, Keith and Del delivering all that I could have wished for! And wait... is that...? Is that!? Oh my, a scratch battle between Q-Bert and Kid Koala! Nnnnggyyaaaahhh!!!

Sunday, May 6, 2018

Gravediggaz - 6 Feet Deep

Gee Street: 1994/1997

It was the late '90s that I got into hip-hop proper-like, Wu-Tang Clan leading the way. Little did I realize that a seed had been planted for that interest a few years prior, with the Gravediggaz debut, the second rap album I ever bought. I wasn't after anything deep or conscious, y'see, but all the crazy, humorous, horror lyricism and super-funky beats of 1-800-Suicide and Defective Trip caught my ear like little other hip-hop music at the time. That's probably how most 'non rap-fans' buy their first rapping records, something that's more a novelty than anything reflective of the culture. Like Beastie Boys doing the cock-rock fusion thing, or blatant smut-rap like 2 Live Crew, or a 'nerdcore' outing from MC Frontalot, or a comedy offering from Lonely Island. Some may dig deeper from those entry points, but for most such 'themed rap' allows folks to dig on hip-hop without getting caught up in the scene's broader topics.

That's all I really cared about going into Gravediggaz. I had no clue that the group contained two of the biggest producers residing on the Eastcoast at the height of their creative powers: Prince Paul and The RZA. Hell, I didn't even know who these guys were when I bought 6 Feet Deep, much less the legacy they'd created in but a few short years. I only clued in to the Wu-Tang connection after listening through The RZA Hits, and realized “Oh! The RZArector. I thought he sounded familiar.” Also, how was Diary Of Madman not on The RZA Hits? Yeah, that compilation was mostly about Wu-Tang highlights, but damn if that single doesn't deserve being considered in conversation of all-time classic, creepy RZA productions.

To this day, it boggles my mind that Paul and RZA not only teamed up so early in their careers, added another pair of relatively unknown MCs in Poetic (The Grym Reaper) and Arnold Hamilton (The Gatekeeper) to the project, but that they'd indulge in the ultra-niche 'horrorcore' genre in doing so. Aside from Bushwick Bill's 'Chuckwick' alias, no one was doing this kind of stuff. RZA's movie influences though, they must have extended beyond old-timey chop-socky kung-fu flicks. Maybe a little Tales From The Crypt comics on the side.

And if the topics of bad ghetto trips, ultra-violent demonic possessions, hanging tabernacles from testicles, and suggesting various methods of suicide are just a tad too out there for your sensibilities, you cannot deny the music on hand is top-grade shit. Prince Paul handles most of the beats in 6 Feet Deep, running through sample-heavy funk, off-kilter soul, and headbangin' boom-bap (Bang Your Head, appropriately enough). Meanwhile, RZA's shouty maniacal rapping, Grym's smooth flow, and Gatekeeper's gruff voice all play wonderfully off each other (Paul mostly sticks to the producer's roll). This album is equal parts grim-dark and hilarious as fuck, without ever falling into parody like so much 'horrorcore' often does. Only a right prude couldn't get into this album on some level.

Thursday, September 1, 2016

Ghostface Killah & Adrian Younge - Twelve Reasons To Die

Soul Temple Records: 2013

Mr. Coles could keep making Ghostface origin-story albums until the end of his life, never running out of fresh angles on the subject. And really, what else is there left to rap about as the G.F. Killah? Most of his early material centred on standard hip-hop topics: street tales, mafiaso aspirations, commanding the microphone with skill above his peers, bragging about his success in sales, within the sheets, and all that good stuff. However, no matter how impeccable Ghostface presents the material, it does grow repetitive after a while when the subject’s been so thoroughly covered for over two-decades now. So, instead of rapping about all that real shit, let’s get conceptual and rap about blaxploitation vigilante stories or Italian mobster horror stories, all linked by how the Ghostface Killah came into being. Sounds like fun!

This story goes as thus. Tony Starks (Mr. Coles’ mafiaso alias) raised through the mob ranks from hired hitman to self-made man. This naturally pissed off all the DeLuca old guard, and Ghost’ doesn’t mince words in how his skin color added extra fuel to the ensuing turf wars. How dare a black man gain so much power, but there’s little they can do about it, Tony’s influence growing ever stronger in the lands of gangster clichés. Everyone has their weakness though, and sure enough, Starks is lured into a trap by a femme fatale, taken out like so many Scarfaces. In typical high-mobster fashion though, it’s not enough to execute him on the spot, his enemies concocting a ridiculous post-death humiliation. His remains are melted down into vinyl, pressed into twelve records owned by those who perpetrated the crime. Damn, I bet those slabs of wax go for just as much as that one-copy Wu-Tang Clan album.

Well, buyer beware, for there’s a twist to this story benefiting an episode of Tales From The Crypt. Turns out Starks’ spirit endured, haunting the records such that should you play one of them, he’ll emerged as the Ghostface Killah looking to exact a revenge most gruesome indeed. The second half of Twelve Reasons To Die details all the myriad ways his enemies meet their ends, and no one is spared. From the heads of the DeLuca family that ordered his hit, to the women and children they spawned, Ghostface shows no mercy or remorse in his wrath. Guess Wu-Tang Clan ain’t nuttin’ to fuck with even after they die.

Twelve Reasons To Die was seen as something of a career resurgence for Mr. Coles, his last critically hailed album being Fishscale seven years prior. It didn’t hurt that he’d paired up with the emerging, highly touted funk and soul producer Adrian Younge, who approached the project as though scoring a classic Italian horror film from the ‘60s; if said film was shot in the Bronx, anyway. It proved such a success that the two paired up again for a sequel this past year. Ooh, Rae’s a supporting character on that one? Tickle me piqued!

Sunday, January 10, 2016

Dr. Octagon - Dr. Octagonecologyst

DreamWorks Records: 1996

The Golden Age Of Hip-Hop was over, and one of the premier groups to usher in that era, Ultramagnetic MC’s, were heading their separate ways. Kool Keith, whom you most definitely know from The Prodigy’s Fat OF The Land, was the likeliest of the group to have a successful solo career, and he’s done that in spades, clubs, and diamond-encrusted hearts. He’s released album after album after album, running through numerous aliases in doing so, and has earned him the reputation of one of the hardest working MC’s of the last two decades. This, despite some serious issues of quality control, especially with a preponderance of crude sex raps that’d make even Luke of 2 Live Crew ask what the cheese. It all had to start somewhere though, and that was with his most critically hailed alias, Dr. Octagon.

While hip-hop’s flush with quirky personas, this one has to rank up there with the most bizarre. See, he’s not some clichéd ‘doctor of lyricism’ or the like; rather, Dr. Octagon is half mad scientist, half time traveling extra-terrestrial (he comes from the planet Jupiter), and half kink scene gynecologist. This provides Keith a setting where horrorcore, nerdcore, and porno raps all cross paths, with an emphasis on tongue-twisting vocabulary that’s equal parts humorous and perverse. When he says he’s gonna’ dissect rectums, treat your chimpanzee acne and moosebumps, and prescribe a treatment of Pepsi cola, Pepto Bismal, bugs, and pop rocks, you can’t be sure if he’s utterly insane, or has fun screwing about the operating room (between sessions of screwing patients in the operating room). Elsewhere, his assistant Uncle Gerbik is a half shark half alligator half man, and over two centuries old. Clearly Dr. Octagonecologyst is an album firmly planted in cheek, probably sewed there with satin threads and rubber needles.

So Kool Keith had something unique going for him here, but what gave Dr. Octagon a quick cult following was the production of Dan The Automator and turntable scratching of DJ Q-Bert (just coming off a string of DMC Championship victories with Mixmaster Mike). Yep, Dr. Octagonecologyst is basically a proto Deltron 3030. Hell, the first track is titled 3000, and sounds like it uses the bleeps from Pierre Henry’s Psyché Rock as a scratch sample among the super-spliffed vibes. Many of the beats are stripped back to a trip-hop haze with old timey French pop loops, serving the macabre tone with a dose of brevity throughout. Man, no wonder Mo Wax wanted in on this.

For all the critical adoration Dr. Octagon generated though, Kook Keith wasn’t the biggest fan of the project, practically ending it right after. He’s actually ‘killed’ the alias multiple times with another persona, Dr. Dooom, and efforts to revitalize him have failed to manifest much of note. Perhaps it’s as it should be, a one-off project that generated underground buzz, but retaining street cred by never overstaying its welcome. Dr. Octagon has operated on all the nether regions he ever will.

Tuesday, July 28, 2015

Eminem - The Slim Shady LP

Interscope Records: 1998

Seven years wasn’t long enough for the bitter aftertaste of Vanilla Ice’s brief dominance at the top of the charts. Perhaps that shameful moment in hip-hop’s history could never be cleansed from public consciousness, forever ruining whatever hope white rappers not named Beastie Boys might have in breaking it in that scene. Heck, the only other marginally successful Caucasian group in ’97 was ICP, and few gave them much care since they were so thoroughly committed to their clown show, no one took them seriously. And hip-hop are serious musics, see, dealing with serious issues of the day, and serious stories of rags to riches. What could a white boy from Detroit know of hardships in America?

Plenty much, turns out. Via an extreme persona dubbed Slim Shady, Eminem offered a look inside the side of life below the poverty line for American Caucasians (re: white trash), a topic almost unheard of in the world of rap. Punk rock, sure; metal, of course; blues and country, sometimes yeah. Hip-hop though, that's music for the black community, performed for the black community – how could they relate to the things Mr. Mathers dealt with?

Not much, to be honest, but they couldn't deny his skills on a microphone, spitting out battle rhymes and telling stories on par with any of the best MCs of the ‘90s. It was enough to draw the notice of Dr. Dre himself, hearing fresh fire in the kid from Detroit that hadn't been heard in hip-hop for years, the old guard all too comfortable in their established roles. Eminem had the talent, the unique perspective, and the drive to take the world by storm; all he needed was the guidance, which Doc' Dre provided. Then they released the corny-ass My Name Is, instantly dividing the MTV generation on whether Eminem could ever be taken seriously.

Oh all right, it was mostly me, but I don't doubt I was alone in suspecting Eminem nothing but a novelty one-hit wonder after that video. Hell, even the stuff he was graphically detailing wasn't too far off from the shock humor of South Park and Jerry Springer. Hip-hop associates kept telling me, “Don't judge him by that one song, it's the worst one off the album. You gotta' hear the rest of it, man!” Yeah, yeah, I'd nod, but considering I had yet to take my proper rap plunge, fat chance I'd ever hear The Slim Shady LP in full. Still, tracks like Guilty Conscience, My Fault (aka: the mushrooms song), and Role Model did find their way to my ears at the odd house party, and I couldn't deny they were fun, twisted tunes.

But nay, it wasn't until after hearing The Marshall Mathers LP and growing to appreciate Eminem the artist that I finally went back to The Slim Shady LP. And lo’, it was indeed a good album, a wild, reckless ride through lower class society’s worst traits. I sure don’t want to stay there for long though.

Thursday, April 3, 2014

Eminem - The Marshall Mathers LP 2

Interscope Records: 2013

Remember when Eminem released Lose Yourself? Along with being his all-time best charting single, it also presented us a Mr. Mathers unlike anything we'd seen before, its anthem guitar licks and rousing chorus inspirational rather than confrontational. It won over even his most ardent detractors within the hip-hop community, placing him firmly at the top of his game. Earning such status within the rap world, the only place left he could go was down. So down he went, though no one expected it happening as suddenly as it did.

A bunch of crazy stuff followed in the ensuing decade, but imagine if it hadn't. Imagine if Eminem carried on from that peak undeterred from all the personal problems affecting him. The Marshall Mathers LP 2 is as close to hearing that possibility as we'll likely ever hear.

Throughout this album, Em' goes on about the trials he faced growing up, reflecting on his career, and simply showing off why he's long been regarded one of the best MCs to ever command a microphone. All topics he's covered before, true, but there's more fire in his spitting, more urgency in his delivery, and even humbleness for his success alongside his rapping bravado. This is the recovery everyone hoped he'd reached at some point, and if it took a call-back to his most successful album, so be it.

Like I said though, MMLP2 feels more like Lose Yourself-era Em', especially with big, catchy guitar licks galore (oh hi, Ricky Rubin). That said, the music's still very much of the here and now, even when purposefully trying to sound like 1986 – no one could wring that much mileage out of a TB-808 back in the day. There's not a duff cut in the lot, plenty of variety between the beats, and enough ear-worm tracks that you'll seldom reach for the skip button. I'm not so much a fan of the 'Rhianna-duet' clones (including hers), but they're few and far between.

So yes, The Marshall Mathers LP 2 is as solid an album as folks have claimed. Of course, the million dollar question is whether it's better than the original Marshall Mathers LP. It's by a hair-width, but no, MMLP2 is not a better overall album.

Despite containing a superior selection of tracks, that's all they are: tracks. You could shuffle most of these, subtract a few, perhaps add some from the deluxe version, and it wouldn't affect the music's flow or even the final product much. MMLP1, on the other hand, feels like a cohesive whole, where the weaker parts (skits, repetitive topics in the back-half) accentuate the standout moments and roller-coaster of emotions you might experience. As a play-through, MMLP1 is more complete, even if I'm not nodding my head as often as MMLP2. Still, if having tune after tune of Eminem reminding us why he deserves his crown after all these years, then The Marshall Mathers LP 2 shouldn't be missed, even by ‘proper album experience’ twits like myself.

Sunday, February 23, 2014

Eminem - The Marshall Mathers LP

Interscope Records: 2000

I admit I've yet to check out The Marshall Mathers LP 2. Yes, I know it's been heralded as a proper-proper return to form for Eminem (no, for realsies this time!). To be honest though, it's hard to get excited about anything Eminem's done for over a decade now, as I gave up on his shtick around the D12 debut, not even bothering with The Eminem Show (“nobody listens to techno”? Lamest. Diss. Ever.).

For all the verbal dexterity lil' Slim's given us over the years, I suspected early he's only as good as he's got something poignant to prove. Slim Shady LP was about making his mark, Marshall Mathers LP's about dealing with his successful aftermath and not coming off as a novelty (hey, look at the good white rapper!). The Eminem Show though, what's left to prove? Sure, he can still come up with decent songs filled with sly wit, but it's a treading album. If I want to hear more of Em' dealing with fame, issues, and shit, I'll just throw on MMLP again, thanks. It's got better songs. After that... well, I jumped ship early, and turns out my assumptions about Eminem's drive as an artist weren't far off. Still, if the buzz surrounding MMLP2 is true, it would indeed appear that he's hungry in all the right ways again.

But enough of that. What is it about MMLP that’s held in such high esteem more than a decade on? Part of it truly was the growth in maturity as an artist Em’ showed us. Few rappers got as big as Mr. Mathers did in such a rapid amount of time, if ever. Lesser MCs often take their newfound fame as a chance to endlessly brag, but Em’ gives us a remarkably humble inside look into the pitfalls of such notoriety. Whether detailing over-obsessive fandom (Stan, The Real Slim Shady, Who Knew) or the societal conditions that could create an icon such as Slim Shady (The Way I Am, Marshall Mathers, Bitch Please II, Criminal), he illuminates American problems along with the shock stories and battle raps. Yep, he proved he could do conscious hip-hop!

It also helped he had Dr. Dre on hand while the good doc’ was still on fire after Chronic 2001’s success, giving us strong beats aplenty with few duds. One of the few non-Dre highlights is the megahit Stan, whom introduced Dido to the US (eh, I already knew her through Faithless), and convinced housewives all over to buy this album. Imagine their surprise at how the rest of the album went, including the brutal endurance test that is Kim at the other end. Em’ also produced the fiery The Way I Am, proving his capabilities behind the boards as well with pen and paper.

This used to be the only Eminem album you were supposed to have, even if you weren’t an Eminem fan. Guess I’ll have to check out MMLP2 now to confirm that. Things I do for accuracy.

Saturday, June 29, 2013

Insane Clown Posse - The Great Milenko

Island Records: 1997

Guess I can't hold this off any longer. I thought maybe I'd be granted another respite should my next batch of Amazon orders make it in time, but nay, I must finally reveal one of the greater shames of my music collection.

No, fuck that. Why's there shame in having a single Insane Clown Posse album? I've had ample opportunity to discard, sell off, or microwave the sucker, yet The Great Milenko has stayed with me all these years. Nostalgia, then? Not really, as I had barely a passing interest in the duo even back when I was age-appropriate to appreciate their schtick in the '90s. Could it be that, *gasp*, this is actually a great album?

Nah, guy, though for all I know, it's tops on the Juggalo scale. What I can tell you is The Great Milenko features far more metal influences than any of their albums, catching the burgeoning nu-metal sound of the late ‘90s just as it was about to blow up. And dammit if I can’t help but really enjoy Slash’s chords on the kick-ass Halls Of Illusions chorus, or shredding from Sex Pistols’ Steve Jones on Piggy Pie. This, along with some of the best production long-time ICP beatsmith Mike E. Clark managed to crank out (having a major label backing sure helps), tickles all the ‘fun-dumb’ pleasure centers in my brain (along with professional wresting, I cannot deny).

Heck, some of the themes are, dare I say, rather clever. ICP’s wit is often no brighter than a black brick, yet songs condemning the lives of the most sinful of society? The Great Milenko’s filled with them and I think that’s material we can all relate to, though I’ve grown well past “world against me” tropes as found in How Many Times?, or “organized religion’s a sham!” ‘shockers’ like Hellalujah. Still, their closing attempt at pathos in Pass Me By, a somber reflection on what the afterlife may bring, is surprisingly charming.

Then there’s simple, silly, stupid stuff like What Is A Juggalo? (ever wondered?), The Neden Game (the clowns try to impress a girl on a game show), and horrorcore insanity (Southwest Voodoo, Boogie Woogie Wu, House Of Horrors). One can’t hate on these anymore than one could hate on GWAR or an early Peter Jackson splatter film. Insane Clown Posse fully embrace their gimmick of ‘wicked shit’, and everything’s just cartoony enough that anyone with half a brain couldn’t take them that seriously (unlike other low-brow specialists like Limp Bizkit). It’s fun to take a ride on their carny ride once in a while.

Or maybe not. Make no mistake, Insane Clown Posse is an easily mocked group, and The Great Milenko won’t change your mind about their shock tactics. They’re still doing their thing though, and somehow made it work for a two-decade plus career. That’s an impressive feat for any act, especially a one-note group like ICP. Just might be the world of hip-hop needs its psycho clowns after all.

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 Ãœberzone 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