Showing posts with label rant. Show all posts
Showing posts with label rant. Show all posts

Wednesday, November 4, 2015

Armin van Buuren - A State Of Trance 2006 (Original TC Review)

Ultra Records: 2006

(2015 Update:
My friends, this review is
awful! ...is what you want me to say, right? I won't deny this is one tedious slog, taking forever to get to any point and forcing the reader to wade through waves of bile to do so. This thing is seventeen-hundred words long, with maybe two or three paragraphs of a clear point being made throughout. Hell, I spent the opening three-hundred words building to a lame joke about the cover. Who has time to read that? Certainly no one in this day and age. And there's so much more that's just cringe worthy to read now: still doing track-by-track in some instances, rambling on about inconsequential details, and what the Hell was I going on about with constant reference to 'Glory Years'? I just listened to a DJ mix that sounds much closer to Millennial trance than this one, A State Of Trance 2004. This sounds nothing like that.

I was tempted to do a full Update review, as I've plenty fresh things to say about this mix, but that'd be cheating my ironclad rules. Besides, do I really need to spend any more words on
A State Of Trance 2006? I mean, just look at this review! It's a bitter, bloated beast, ornery and cranky for reasons I can't recall now, beyond my utter frustration with Armin's scene in general. All that hype, all that marketing, all that product and good intentions. All that waste of my time.)


IN BRIEF: Still living the Glory Years.

Armin van Buuren’s always been the guy who remains cheerfully optimistic in the face of adversity, and it clearly shows in his approach to music. His brand of uplifting trance is known to rock many a club night while putting sincere smiles on all those who hear it, equally enjoying the soaring melodies while Armin exuberantly lays down the anthems behind the decks.

But one has to wonder whether Armin is growing tired of his role as cheerleader for the epic trance brigade. After all, nearly every other DJ that helped build the style into the dominating party music that it was at the turn of the century has begun to move on to other pastures, leaving Armin to carry on in their stead. He’s certainly made ample use of being given the spotlight, as his star rose to the elites of popular trance DJs while promoting his A State Of Trance internet radio show as the premier source for new uplifting tunes. However, being stuck in that typecast has left him at a standstill for the last few years.

His artist album Shivers from last year saw him attempt to break that mold by creating songs outside the trance template. A worthy idea, but the results were uninspiring to casual happeners and met with annoyance from his hardline trance fans. Still, Armin knows if he wants to be held in higher regard outside his core niche, he’s going to have to step up his game. So, no more Mr. Happy Exuberant Nice Guy. With the grim determination of a DJ on a mission to bring trance back to its nostalgic highs, Armin presents to us the latest collection of the best trance music his radio show has to offer.

Well, one theory for the awful cover image at least.

Anyhow, here we are with Armin’s latest edition of his annual A State Of Trance series. As usual, there are plenty of complaints from listeners of his radio show that there are too many tracks which have been played to death. I’m still befuddled by this complaint; unless you are an extreme Armin fanboy that has got to have everything Armin puts out, this release really isn’t for the dedicated radio listener. Rather, the aim here is simple: compile the standouts from the program for those who don’t listen to it much (or, like me, at all), thus giving Armin the necessary promotion in places that are not the interweb - namely, music stores where money can be made. Fortunately for the non-radio listener and non-downloader, there are plenty of new, exclusive, unreleased tracks to be had in this edition, so if fresh material is what you’re after, you’ll get some bang for your buck.

Following similar themes set by previous editions, 2006 divides the selection of tunes between two different types of sets. Last year, Armin didn’t know if his audience would get the idea, so he gave the discs idiot-proof titles of Light and Dark. He seems to show a little more faith in his fans this year though, going for the slightly more descriptive titles At The Beach and In The Club. Since it’s the first disc here, let us start with the beachy music.

And Mike Foyle’s Shipwrecked is as fine an opener for such a theme as any. Pleasant piano melodies, seaside sound effects, and warm pads make up the bulk, with simple rhythms keeping the pace on easy cruise control. This is quite the blissy offering, easily putting me into a trancey, tranquil sense of waterfront calm.

...Only to be promptly taken out of it by the questionable guitar work in White Sand. I can kind of hear what DJ Shah was shooting for with this track, that of a loungey Mediterranean mood. Unfortunately it comes across as mere noodly finger plucking, without any kind of proper attention paid to stringing together a cohesive harmony. It’s like a poor-man’s Michael Brook with a dance beat.

We quickly leave these seaside tunes though, entering a stretch of moody vocal prog numbers, each followed by a charming instrumental to complement them. These are all quite nice to listen to, keeping the mood on a gradual climb with each track sounding unique from the previous without losing that all important flow. Although the tracks never quite lift beyond a few minor emotional peaks (most notably Junkie XL’s remix of Niyaz’ Dilruba and the Whiteroom remix of Zirenz’ Edge Of Space), they are effective in drawing you into a pleasant trance. It’s just as nice as background music as it is something you can absorb yourself into.

Once Jody Wisternoff’s Cold Drink, Hot Girl changes the general tone of this mix to something a little more groovey, Armin sees fit to gently ease us out of our blissy tenure with the ethereal setting of One With Sanctuary from Incolumis. No apparent hook to be had with this track; just gentle pad work with appropriate rhythms. Definitely a nice capper to this pleasant little disc.

Ack, but Armin decides to keep going. I’ve complained about him throwing on additional tracks at the end of a set when the lead-up to it suggests he’s wrapping up, just because it comes off as milking a CD’s length for all its worth even if you’ve said all that needs to be said. Still, his choice of add-ons isn’t too bad this time out. Even if Envio’s For You has the unfortunate distinction of being ‘one track too many’, it’s a decent track regardless.

Overall though, At The Beach certainly manages to create the atmosphere Armin’s title shoots for. Although a couple tracks feel out of place (I suspect the Karen Overton one may just be PR plugging, but that’s a rant for another review), none of them really detract from the overall tone set-up by Shipwrecked and, more or less, is brought to its natural conclusion at the end. It’s not a revolutionary mix, but works within its confines and should make for a nice summer soundtrack.

As for the second disc...

Shit...

My friends, this is awful!

Damned near every single fucking song does the exact same thing! I just need to provide a link to Fable’s Above for a description (2015 Edit: whoops, that link no longer exists!), and let that repeat itself. If you’re too lazy to actually click the link, here’s the gist of how it goes from start to finish: intro and outro beats matched; minor melody; breakdown, build, soaring uplifting melody, jump in the air with your fist pumping, supposedly cheering Armin on for selecting the ‘choon’; repeat. That’s it. The repetitive redundancy this disc contains isn’t that far removed from that found in hardstyle mixes. The energy is completely flatlined from the get-go, at no point ever seeming to lead anywhere other than just one breakdown after the other, and the predictability of it gets old fast. Were I to implement my Patent Pending Trance Drinking Game to this disc, I’d leave with a very tortured liver.

It’s not that all the individual songs on display here are bad examples of epic trance; put into a better set with more room to stand out, any one of them would probably be good peak time moments. However, Armin’s arrangement and mixing is so utterly bland, the tracks never get a chance to show any kind of personality, which is a far cry from the flavour to be had in the first disc. The beats are simply aligned, the keys properly matched, and that’s it. A robot could do the same job. Say, maybe that’s what gives with the blank look in Armin’s face on the cover: he’s been replaced by an android!

There are a couple points where this mix seems to break the mold, however slightly, but not always for the better. Highlights include: the better than average melody in DJ Governor’s Red Woods; some quirky synthy delights to be found in Stoneface & Terminal’s Venus; the SUPREMEsaw synths of Thomas Bronzwaer’s Shadow World (though that just may be familiarity sparking my interest, since I’ve already heard it on Phynn’s recent DJ mix for the In Trance We Trust series). Lowlights include: both Kyau vs. Albert tracks, who’s blend of bland adult contemporary songwriting with trance beats seems to kill just about every show of momentum; Armin’s own laughable Sail.

Actually, since he gives his own new anthem the spotlight at the end, I may as well give it the review spotlight as well. It’s as though Armin, still trying to create that one classic that will be played forever and ever, took a look at every single major hit in the past and fused them all together. The melody is super-stupidly simple, pretty much hitting single notes on every beat and played with just about every kind of sound you’ve heard in epic trance. You get bleepy synths that made PPK’s ResuRection the smash it was; you get plinky pianos that made Children the hit it was; happy-go-lucky rhythms which are vintage Ferry Corsten; and, of course supersaw breakdowns, sure to bring back Rank 1 memories. And that’s just the first fucking half! I’ll admit I have a soft spot for the voice pads, but Armin kills it with a horribly distorted synth sound in a second breakdown, which reminds me of Tiësto’s take on Adagio For Strings in sound, and The fucking Launch in ‘melody’, of all damned things. To complete the idiocy of trance clichés, he brings in stuttery supersaws alongside the distorted synth once the beat returns. What is this, epic trance meets hardstyle? Christ... Either this is meant to be a ‘tribute’ to the Glory Years of epic trance that totally missed the mark, or a very, very sick joke.

I honestly don’t know how anyone can take Armin seriously after this. At The Beach showed some promise, but In The Club destroys it in an instant with its tiresome re-hashing. In Armin’s mind, 1999 is still going strong, and I suppose with the continuous influx of new kids to the scene, he’ll be able to live off of that vibe for a long while still. He’s apparently made his bed with the Glory Years, and you can either join in with his never-ending ride or go elsewhere. Of course, once you’ve moved past that introductory stage A State Of Trance seems custom made for, you usually will.

Written by Sykonee for TranceCritic.com, 2006. All rights reserved.

Thursday, April 10, 2014

Coldcut - More Beats + Pieces (2014 Update)

Ninja Tune: 1997

(Click here to read my original TranceCritic review and DJ Mag rant.)


Oh, that ‘review’. I almost feel obligated making a 2014 Update about the status of the DJ Mag poll over anything Coldcut related. But no, that’s not what these updates are about. They’re re-examinations of releases years from when I first reviewed them: how they’ve held up, whether a trend they were a part of is still relevant, and adding new thoughts and ideas about the music given the benefit of gained knowledge and wisdom. Also, if the original review was shite, I can make amends with a better one! So no, I will not be going on another DJ Mag tirade in this update. That settled, let’s see what’s new about Coldcut’s More Beats + Pieces EP, what tidbits of info I’ve gleaned all these years later.

Um… well… Let’s see, there’s… Oh, did you know there was a live version of More Beats + Pieces that’s even better than the one on here? Wait, you do know that? Ah, right, Masters Of 1 & 2. Then how about that… thing about… the stuff regarding Coldcut where, uh, you know, did things. Alright, there’s nothing worth adding to a fifteen year old EP that I hadn’t already exhaustively covered. And no, I’m still not listing all the samples. It’d ruin your trainspotting fun.

DJ Mag, then? Fine, DJ Mag, although there’s little to add here either. Some names have changed, but my rant of 2005 holds about as true as it did then - come to think of it, Armin’s fans are still whining when he’s not number one, including this past year’s results. The biggest change that occurred with the poll was running it through Facebook, thus diluting the trance-cracker purity it’d maintained throughout the ‘00s. As a result, David Guetta won, knocking Armin out of top spot and producing one of the all-time hilarious, saddest celebrations of a DJ winning an award ever witnessed. DJ Mag almost always has footage of it removed from YouTube, but if you do stumble upon it, enjoy the mirth.

In general though, DJ Mag’s relevance continues to dwindle despite all their efforts suggesting otherwise. A singular popularity poll no longer carries the weight it once did when Twitter followers, YouTube watches, Soundcloud downloads, and Facebook Likes are a better gauge of what DJ or producer is currently bankable. Sasha hasn’t been on the poll for two years running, yet I highly doubt his stock as a DJ has dwindled in that time.

What’s adorable about all this is DJ Mag knows how bullshit the results are (jokingly exemplified here). Despite running a poll that paints them as curators of EDM’s cheesiest, corporate interests, the editors insist they maintain a culturally relevant rag about electronic music as whole. Perhaps, but are you willing to shell out a few bones monthly to find out? I sure don’t give a rat’s ass what their articles have to say. Why should I, what with such a goofy poll their ongoing legacy?

Tuesday, January 8, 2013

Various - The Electro Compendium (Day 1)

Anti-Social Network: 2012

This compilation titled The Electro Compendium has one-hundred and sixteen tracks. Not mixed, or cut-up, or looped. No, all individual, full-length tunes. That's just nuts. Who can listen to that in one sitting? Maybe if you are bed-ridden with the flu, it can be done, but chances are you'll want something more soothing than robot music coming from your speakers. A more practical use would have one throwing this on for a long road trip (or, as we say in British Columbia, driving to the next town), or a brutal overlay at an airport. Generally though, such a large collection of music won't be digested in a single serving, which is fine when it's divvied up across a dozen CDs in box sets and the like. In this case, however, we're dealing with a free download from the Anti-Social Network (follow this link for your copy!), where manageable musical chunks are a moot point.

It's particularly annoying for a totally selfish reason tying into my listening habits. Perhaps it's because I was raised within the LP era, but I find the standard 50-70 minute length of a typical CD the perfect length for enjoying music. Less, and it comes off like a teaser; more, and the mind wanders to other distractions. Also, by sheer coincidence, many of the commutes to work, school, or errands I've taken over the years coincides nicely with this time frame, so I've become conditioned to these running times working out for me. It's also how I'm able to plug through all these releases on a near daily basis.

I'm facing a conundrum with The Electro Compendium, then. 116 tracks is an obscene amount to get through, my Media Player estimating a total running time of around ten and a half hours. At best, it will take me a week to get through this, and Lord knows that's a ridiculously long time to go without updating this blog (funny enough, I'd average nearly two weeks per review back in the day, even though I actually had more time to listen to material - must have been due to the absurd words counts...). Additionally, how can I possibly do justice to such a collection of electro within my self-imposed word count, much less point out but a mere three of the best Ace Tracks? No, none of this will do.

Thus, my solution: I will continue posting daily reviews, and they will cover whatever progress I've made within this compilation for that day. This will allow me to continue generating content, and in the process provide a respectable amount of critique for most the music on this compilation. I’ll probably do something similar for future releases; definitely box sets and giant-sized compilation downloads, though not necessarily all 3CD-plus albums, as it’ll depend on the content.

Okay, that’s all sorted. Now, on to the first batch of tracks off The Electro Compendium, ten of which I got through today. They’re definitely electro. And they’re good.

Saturday, January 23, 2010

RipFork, a music writer's greatest annoyance.



When I first started writing music reviews, it was to give followers of EDM broader, honest coverage of the genre. There were far too many horribly-written brown-nosing writers on EDM websites, each coming off as desperately seeking free promos and never actually being critical of poor music -their scales of "1-10" seemed to forget there were actually numbers below seven.

That wasn't the whole story though. Another part of it was the infuriating pretentiousness of other websites that would cover EDM, specifically those that catered to indie crowds. Pitchfork, Tiny Mix Tapes, Drowned In Sound, and so on. Whatever practical facts or opinions they presented were so often buried in English Major prose, it renders reviews nearly unreadable. Boomer Rock journalism was bad enough in carrying annoying self-importance, but at least you figured they still knew how to, well, party. You seldom get that sense from indie rock journalism, with dry attempts at witty wordplay designed to impress their peers being the norm. It's why Mark Prindle remains one of my favorite music writers (check him out if you haven't yet!), as you can tell he's just a guy who likes to talk music, make his well-informed opinion, and throw in a few dick jokes along the way. He's not trying to create something as daft as journalistic art or something.

So it's quite refreshing to see someone take the time to actually critique these websites. It's a fairly new website, called RipFork, and he's already managed to tick off a few of the 'established indie journalism elite'. It appears to be nothing more than a hobby right now but many of his points are solid and amusing. Who knows how long he'll keep this up for, but provided he doesn't run into a rut, it could become a popular website for those weary of Pitchfork's shtick. Also, if you ever find yourself writing in the manner of some of the reviews he's taken to task, for the love of God rethink what you're doing!

I'll admit I'm far from the greatest music writer out there but I at least attempt to follow Prindle's form in being a personable writer. We need more like that out there, and definitely less of the Pitchforkian Prose types. Yes, I'm looking at you, Resident Advisor. Get your head out of your ass before it's too late!

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. 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