Monday, January 13, 2014

Aes Dana - Leylines

Ultimae Records: 2009

Vincent Villuis has put together one of the best ambient and downtempo labels I've come across, and thus I have a great amount of respect for him; yet I struggle to get into his Aes Dana material. It’s not a matter of quality, as his music checks off all the things I enjoy of this genre (lush soundscapes, clever instrumentation, captivating atmosphere, the Ultimae Mixdown™). Unfortunately, Mr. Villuis has done such an impeccable job of gathering talent to Ultimae, he’s often overshadowed by them. Solar Fields, Asura, Carbon Based Lifeforms, holy cow, what a roster! Even his collaborative work with Solar Fields as H.U.V.A. Network is beyond stellar.

So why the problem with Aes Dana? I suppose it boils down to the minimalistic nature of his music. Villuis doesn’t often evoke the same uplifting emotional response his label chums do, perhaps a result of his industrial background. While not cold or uninviting as most industrialists go, there is a noticeable trend of it throughout the Aes Dana project, a nod to the dark ambient tone that scene embraces.

I haven’t heard every album under this banner (dang it, Ultimae, we need another round of re-issues), so I don’t know whether Leylines is the darkest Aes Dana album. Damn though, for an Ultimae LP, it’s dark. Oxyd oozes sinister strings and glitchy percussion as a thudding heart beats in the background, all of which complimented with gentle, disconcerting bells. Heights features disembodied voices and haunting orchestral arrangements, as though echoing off cathedral halls. And Signs is about as dark and ethereal as dark ambient gets. Even the uptempo cut Lysistrata has trademarks of industrial, utilizing a bassline that wouldn’t sound out of place on an EBM record. If Delerium had continued making music of this sort rather than seeking the bankable New Age market instead, I’ve little doubt they’d be producing what’s found on Leylines.

On the other hand, a number of Ultimae tropes do crop up. Tracks like Bam, Blossom, and Inter check off many requisite psy-dub sounds amongst the droning synths. Meanwhile, the whole middle section, including Lysistrata, is made up of that distinct slow-trance style the label practically made their staple, often coupled with moody synths and world-beat effects. Hey, I love this stuff, but I won’t deny it all sounding similar in bunches, a subtle, sonic soup one can easily pass by without much care. If you’ve heard enough Ultimae, you’ll recognize many of the sounds and arrangements Villuis creates here. And as he does prefer the minimalistic route in his music, the lack of strong melodic hooks leaves Leylines lagging behind the label’s best albums.

Not the highest recommendation for Aes Dana’s fourth, then, though only if you’ve yet to take the Ultimae plunge (I say again, what on Earth are you waiting for!?). Leylines is an enjoyable album on its own merits, a suitable musical companion for introspective times and places. A necessary addition to one’s chill-out collection, however, it is not.

Sunday, January 12, 2014

Raekwon - The Lex Diamond Story

Universal Records: 2003

Only Built For Cuban Linx is a classic, of that there's no debate; Part 2, released in 2009, was heralded as the follow-up everyone hoped of Raekwon. Unfortunately, no one knew whether we'd get such a sequel, so fans of Mr. Todd's music made do with what was sporadically offered instead. When it came out, Raekwon's third was received warmly enough, if not as a return to form then at least a decent effort. That perception's somewhat changed though in recent years. Unlike other 2000s LPs from the Wu-Tang, The Lex Diamond Story seems to be receding further from the collective hip-hop memory.

As an assortment of 2003 eastcoast criminology rap, Lex Diamond suffices. There aren't many surprises on the production front, though the tone does frequently jump from track to track – guess that's the price one pays for no longer having RZA providing all the beats. Instead, names like Brutal Bill, Andy C (no, not that Andy C), Crummie Beats, Zephla, Hangman 3, Ez Elpee, and Mizza handle the decks. Um, I don't know any of these names – I think I heard of Crummie Beats somewhere, but Lord Discogs lists Lex Diamond as his (their?) only entry, so I may just be blowing hipster smoke. Whatever, everyone involved (and nearly every track has a different producer credit) pretty much work with cinematic or jazz-n-soul loops and samples that'd been an eastcoast staple for over a decade by that point. Again, fine for the tone Rae' wants for this album (street raps by his street gangsta persona), but nothing particularly innovative for that year.

In fact, the few tracks that do break mode stand out from the rest for that very reason. That doesn't mean they're good tunes though. Ice Cream, Pt. 2 seems like a bad idea on paper – don't mess with a classic, right? - but DJ Khalid (who's done work for Dr. Dre's Aftermath print) provides a charming, silly cut for Rae', Method Man, and Cappadonna to once again use tasty frozen treats as pick up lines. Mike “Punch” Harper, on the other hand, creates a synth-heavy club jam on Wyld In Da Club, also featuring Raekwon's then-new pet project Ice Water Inc. (what happened to American Cream Team?). It sounds like a total trend-jump and in both cases, I wonder how either of them relates to a story about Lex Diamond's crime days.

And really, that's where this album suffers and quite possibly will continue to be relegated to forgotten solo-Wu joints. Say what you want about Immobilarity, but like both Cuban Linx, it maintains its theme for most of its running time – it feels like you're listening to proper long player. The Lex Diamond Story doesn't, often jumping from a Lex-related story to something totally unrelated. The final track - Once Upon A Time with somber pianos and singing from Tekitha (such a soulful voice) – is an admirable effort to tie everything together, but it's not enough.

Friday, January 10, 2014

King Cannibal - Let The Night Roar (2014 Update)

Ninja Tune: 2009

(Click here to read my original TranceCritic review.)


It took me some time in finding dubstep I could get behind. There was the dancehall influenced stuff, sure, and also the material Burial put out that was retroactively called ‘post-dubstep’ or ‘future-garage’ or whatever. Yet something straight-forward with the signature half-step beat and wobble basslines? Dear Lord, no! Too much of it struck me as gimmicky nonsense (even before brostep ever got popular), and while I’ll grant my general exposure to it during the late ‘00s wasn’t the best (for the love of God, stop playing those same Benga and Coki tracks over and over), there wasn’t much incentive for me to dig further.

Then I heard King Cannibal’s Flower Of Flesh And Blood. It wasn’t one of those “OMG, EVERYTHING ABOUT THIS GENRE/MUSICIAN IS THE GREATEST THING EVER!” moments – and yes, I have had tons of those over the years. Heck, it wasn’t even one of those “Ah, now I ‘get’ dubstep” moments. I got dubstep quite early on, as it’s a very simple form of music to get in the first place. What this track did, however, was prove to yours truly that dubstep could, in fact, not only be good, but really damn good!

Yeah, yeah, the Hyperdub print kinda-sorta already did that, but I’m talking about the visceral thrills all the bro-steppers were going off on about. Flower Of Flesh And Blood has the same cavernous snare hits, the growling mid-range basslines (though rather similar to jungle tech-step), and an aim squarely at massive crowds. It’s also properly dark and nasty, not like all those try-hard attempts the likes of Excision and Datsik were offering – like the difference between Slayer and …anyone trying to be Slayer.

Maybe it helped that King Cannibal’s debut album wasn’t strictly a dubstep affair, though definitely owing much to the UK bass scene. With emphasis on the grimier aspects of the music than cheap thrills, Let The Night Roar has held up remarkably well while so much other dubstep of the time remains stuck in that era. Good ol’ Ninja Tune, they sure know how to pick ‘em, and if you missed out on this album the first time around, it wouldn’t hurt for you to give it a second chance. Unless, of course, you figure Borgore the height of dubstep sophistication.

And what of Le Cannibale De Roi? He released a Ninja Tune tribute mix the following year, titled The Way Of The Ninja. It features two-hundred fifty tracks from the label within seventy-four minutes of madness. The… fuck…!!? (!) I’m tempted to scope that out, for sure. As for Mr. Dylan Richards, his output dried up following Let The Night Roar. The… double-fuck…!!? (!!) What happened there? Did his Ninja Tune deal end? Is Lord Discogs being dishonest with me? Apparently he released an album called Kill The Lights as House Of Black Lanterns last year on Houndstooth. From what I’ve heard of it, it’s… different, I’ll give it that.

Thursday, January 9, 2014

Dirty South - Let It Go (Original TC Review)

Axtone Records: 2007

(2014 Update:
A little dated, this review, as electro house lingered on for a few years longer before the Swedish House Mafia upped the anthem potential, spurring on the anthem house revival (no, really, stop calling it Big Room, you gits) we're going through now. In fact, I'm surprised I didn't notice it before, but Axwell's remix here has all the hallmarks of the genre, right down to the sort of synth-plucks Rollo used back in the early '90s. Come to think of it, all of their biggest hits - even
before becoming the supergroup SHM - relied on that trope. Fuck me, no wonder they were so popular.

Dirty South, then? He finally got around to releasing a proper album this past year, though released on his own Phazed Records print, and only digital at that. What, no one bothered to sign him before? Wasn't he supposed to be a top-tier electro house producer and remixer? He still has some fans, I guess, but has gotten lost in the shuffle now that
everyone is making anthem house of this sort.)


IN BRIEF: Here yesterday, gone tomorrow.

Dragan Roganovic broke out of Australian obscurity quite quickly into his career. At first mostly tied to fellow Aussies TV Rock through their collaborations, Dragan soon brought his Dirty South project to the forefront on the strength of a string of high-profile remixes. Before long, he was getting tapped to lend his touch to singles from Fedde le Grand, Roger Sanchez, TiĆ«sto, Kaskade, and David Guetta. Why him in particular? If these names are anything to go by, Dragan is quite chummy with the mainstream side of dance music, and he now is often contacted to provide a Big Electro-House Remix for such folk. Truthfully, when compared to the endless numbers of fart-house producers out there, there isn’t anything terribly unique in Dirty South remixes, but for whatever reason he gets the big singles handed to him and has built a tidy career out of it.

In fact, given that his remix work grabs most of the attention, you’d be forgiven in forgetting Dragan makes his own tunes too. He hasn’t released many, and they certainly don’t command as high a profile, but they are out there. Late last year, upon signing to Swedish house man Axwell’s Axtone label, Dragan released his first solo work in over a year, a simple little number titled Let It Go.

And yes, it is rather simple as far as house music goes; which isn’t necessarily a bad thing, but in Dragan’s case, Let It Go is quite run-of-the-mill too. There’s a catchy vocal, a serviceable guitar lick, marginal nu-electro elements, and your requisite main-room build-and-drop structure; mainstream sell-out Bob Sinclar gets by on much the same. Really, the only thing rescuing this Dirty South single from Ministry Of Sound compilation fodder obscurity are the beats, which have decent bounce to them when compared to other typical offerings; unfortunately, it isn’t enough to make this a memorable slice of house music either.

For the remix, Axwell himself gets the duties, and offers little as a result. His go at Let It Go rests somewhere between the main-room structure of the original and rote execution of tech-house simplicity. The beats aren’t as interested, and his hooks are marginal even by Swedish House Mafia standards. Sure, it’ll get the job done on the dancefloor, but praising it for that is like praising a car for getting you to where you’re going: it’s the least that’s expected for a pass.

Frankly, had I gotten the chance to review this back when it first came out, Let It Go would have seemed decent, if not enduring (who’d even be able to recall it a year later, I wonder?). As we move deeper into this year of 2008, however, it just seems tired. A resurgent classic house revival has been upstaging all this electro-house stuff with cool class, funky fun, and soulful vitality, and I can’t help but suspect the trendy nu-electro material Dirty South produces will fall out of favor by year’s end. One can only hope.

Wednesday, January 8, 2014

GZA/Genius - Legend Of The Liquid Sword

MCA Records: 2002

We're long past the age where most post-millennial Wu-Tang solo albums are met with disappointment. Now, articles crop up of looking back at potential overlooked gems, of which there were a few, let’s be honest. Everyone kept expecting the Clan members to continue their mid-‘90s brilliance, all the while bypassing several solid hip-hop albums in their own right. And poor Gary Grice, did he ever get passed by. Beneath The Surface generated some initial excitement, true, and his work with DJ Muggs on Grandmasters got briefly hyped as well, but his other two albums not so much.

Yet while Pro Tools has recently gained some level of respect, Legend Of The Liquid Swords remains one of GZA’s least talked about albums. For the love of me, I cannot understand why. Did it come out at the wrong time? I’ll grant 2002 was not a good year to be making a lyrically conscious album when the burgeoning hot raps consisted mostly of “WHO! WHAT! WHEN! WHERE!”, but surely anything The Genius had to say should have turned heads.

Oh, I’m sure it did, but as all things Wu related during those times, if it wasn’t on par with the ‘90s material, it just didn’t matter. Legend Of The Liquid Swords is damn good, offering about what you’d expect of an eastcoast lyrical showcase, but the beats are mostly bare with funk and soul loops, allowing GZA the room to tell his tales. Tired in the early 2000s? Perhaps, what with Neptunes and Timbaland taking hip-hop down strange new roads (to say nothing of that Kanye kid Roc-A-Fella had behind the decks). DJ Premier and The RZA may have set a standard the decade prior, but the kids wanted new shit. Unfortunately, shit is what they mostly got in the following years (hiya, Soulja Boy).

Gladly, what may have sounded dated in 2002 comes off vintage all these years later – oh hindsight bias, never will you do me wrong! I honestly don’t think regular Wu-fans cared anyway, as when it comes to a GZA album, it’s always about the lyrics. And I can’t find Mr. Grice at fault on anything. Whether waxing nostalgic about the old days (Auto Bio, Fam that also features RZA and Masta Killa, and Sparring Minds with Inspectah Deck), detailing shady record business activities (Did You Say That, Knock Knock), or displaying wizardry with his words (everything!), GZA offers plenty for that intellectual side of your brain. Even the ‘fun’ track Fame is genius, using celebrity names to tell his story. Sample: “Larry’s Bird flew outta Nicholas’ Cage; Joe Tex messages from Satchel’s Paige; Betty Wrights letters with ink from Sean’s Penn; Infinite bars, you couldn’t tell where the song end; Glenn Close enough to quickly duck the tapes; Richard Gere ripped while he was climbin’ Bill Gates.”

Legend Of The Liquid Swords wouldn’t do much for the Wu-Tang Legacy, but it does sit nicely as a companion piece to GZA’s body of work.

Tuesday, January 7, 2014

Infected Mushroom - Legend Of The Black Shawarma (Original TC Review)

Perfecto: 2009

(2014 Update:
For a late-period Infected Mushroom album, this has held up surprisingly well. Too much of their work instantly dates, whether it be doing crap nu-metal years after that scene died, or jumping on the brostep bandwagon like everyone else. Since they went for more an industrial sound here, though, it doesn't come off so tired. Something about industrial has allowed the genre to endure far longer than anyone would have believed, and while Infected Mushroom's offerings wouldn't have Trent Reznor quivering anytime soon, it's at least respectable enough takes on the sound. Or maybe I'm just showing '90s bias.

This definitely was an odd time for the group, getting picked up by Oakenfold's Perfecto print while suddenly finding themselves rubbing shoulders with trance-cracker jocks at the top of popularity polls. They've since plummeted and are no longer on Perfecto, so who knows what the future holds for Infected Mushroom. Maybe full-on garage rock?)



IN BRIEF: Back in the right direction.

Someone must have sent Infected Mushroom a memo informing them that nu-metal and that entire ilk was a dead genre, something that grew out of favor when all the teenagers that listened to it earlier this decade came of age. Sure, it’s a shame the group didn’t actually read the damn thing until after Vicious Delicious was released, but at least they have read it now. Their latest album, Legend Of The Black Shawarma, thankfully sees a lack of rap-metal leanings, power ballads, and, most thankfully, Amit Duvdevani hilariously awful attempts at gravel-throated earnest singing (even the mock singing in those Creed Shreds vids on YouTube are better). Oh, there are still problems to be had with this album, but IM have at least abandoned the worst bits of their last one. In the process, they’ve also managed to refine some of the things that did work, and the group comes off far more musically taught than they have in while. In a nutshell, they seem to mostly be done exploring, and are now solely focused on execution.

Cause for celebration, right? Perhaps. If you’ve stuck with them through their last couple albums, it certainly is, and definitely so if you’ve only just recently discovered Infected Mushroom. Of course, you’ll still find an army of IM old-schoolers who’ve written this album off as a continued degradation of the psy trance scene, but Infected Mushroom are quite removed from it at this point. Sure, they still retain a few instances of the music, but this album aims for a different audience than crusty hippies and cyber-trippers. And by ditching much of the teenager angst that permeated Vicious Delicious, it seems they’re after a more mature audience as well.

Or maybe not. The CD opens with a guest acoustic strum by Everlast, suggesting the duo ha

The CD opens with a bit of acoustic strumming that reminds me of Everlast, but quickly turns to chugging metal guitars, faux-funk breaks, a bit of psy wibble, a few wordly trappings, and, um… not much else. Poquito Mas is hardly much of a song, sounding more like a mish-mash of ideas IM are preparing you to hear once the album properly gets underway. Rather pointless, to be honest, even if it’s meant to be an intro.

From there, the album unfolds quite entertainingly. You have catchy EBM tunes like Sa’eed and Smashing The Opponent, blinding buttrock goa with Can’t Stop and Herbert The Pervert (now there’s some effective use of their guitars!), and even a credible ballad with Killing Time (having long-time alt-rock favorite Perry Farrell on vocal duties here certainly helps). Elsewhere, ‘Duvdev’ does carry on with the vocal duties, but his voice is fed through so many effects, it actually helps enhance the tracks.

The only real duff track in the opening half is End Of The Road, which seems to be a woeful attempt on IM’s part to do a ‘minimal’ track - that is, a whole bunch of aimless, tuneless dull beats and sounds, with a couple instances of false-climaxes (here’s the build, but forget about a payoff); it does come correct with a typical psy ending, but the lead up is pure toss.

That’s the first half done. The second half of Legend Of The Black Sha-Na-Na sees IM get their concept on; in other words, having satisfied the masses with catchy tunes, Erez and Amit are now ready to get prog rock/metal on our asses. In terms of ambition, the triple-dose of Project 100, Franks, and Slowly can’t be faulted, as there’s quite a bit going on between these three tracks; however, as a listening experience, it wanders aimlessly too much.

Changes in tone, abrupt shifts in time signature, overcooked effects, and just plain dull stretches dilute the great moments to be had. For instance, there’s an excellent burst of strong harmonizing between the psy effects and chugging guitars at the climax of Project 100, but the song needlessly carries on afterwards with dull faux-funk. Meanwhile, Franks and Slowly wander all over the place more so than Israeli psy often does, never seeming to come together as a solid musical outing. If you skip through a track by a few minutes at any given point, it sounds like you’re listening to an entirely different song, and trust me there isn’t much to bridge these disparate sections in a convincing fashion. Any island of quality is thusly lost in a sea of mediocre wibble. For every winning wailing guitar peak, there’s a pointless dinky bloop-bloop bit elsewhere (I’m looking at you, Slowly).

The trouble is then multiplied by just how plastic it all sounds. Granted, Infected Mushroom have long had that aesthetic about them, but it served them well when they were dishing out typical full-on psy (or, in the case of Legend Of The Black Shamwow ’s first half, EBM). In attempting complex prog structures, however, they’re shooting for bold musical statements that can’t be done justice with the hollow sonics they use.

After all that, it makes the titular track a welcome, fun return to the material that worked in the first half of Legend Of The Black Shangri-La. As much as it may infuriate long-time IM fans, the duo seems to have found a comfortable niche in being more of an EBM group than a psy-trance one - they definitely show more aptitude for writing such music than they do in overly-ambitious prog. (by the way, the remix of Riders On The Storm is a love-it/leave-it affair; it’s serviceable, though hardly surprising if you’re at all familiar with IM’s sound)

Legend Of The Black Shawarma is not without its faults, but it is a step in the right direction again. Even if the album is split between catchy cuts and overcooked ambition, the gulf between the two isn’t nearly as pronounced as the split between full-on psy and rap-metal was on Vicious Delicious. You may want to give this a few listens over before making a firm purchasing decision, but it remains one of Infected Mushroom’s better albums in some time.

Monday, January 6, 2014

Bob Marley & The Wailers - Legend

Tuff Gong: 1984

Speaking of reggae...

This is where that Peter Tosh fella' below got his start, even penning some of The Wailers' most memorable hits (Get Up, Stand Up, One Foundation) - I'm sure he also influenced many other political songs from the group that became reggae staples for years to come. But yes, the main star of the enterprise was Robert Nesta Marley, or simply Bob to white stoners the world over.

I guess the importance of this collective of reggae musicians cannot be overstated. There were other names and bands that had a greater hand in developing the sound, true, but none came within an earshot of breaking into American radio. Then all of a sudden, folks picked up on these quirky, rugged roots rhythms emanating from Jamaica, almost exclusively from a practically all-star cast calling themselves The Wailers, fronted by an incredibly magnetic singer with crazy dreadlocks. Why is he even wearing his hair like that? Because he's a Rastafarian? What's that? Goodness, what else is going on in Jamaica? It all sounds so, like, laid-back and fun, man. They also like smokin' grass too. Oh man, I'm totally gonna be Jamaican now, it's kinda like being a hippie, right?

So I don't know if that's really what '60s burnouts thought of reggae music, but seeing how it's affected the hippie culture since, it wouldn't surprise me. Kind of a moot point though, as one doesn’t have to be of the crusty persuasion to enjoy Bob Marley; hence his broad appeal. The knack for a hook, the charming melodies and vocalizations, the poignant messages, and, perhaps key, the comprehensible lyrics (ain’t no thick Jamaican accents here, my friends), they were the total package for global domination. Sadly, after a brilliant decade of music, Marley died of cancer at the start of the ‘80s. And while The Wailers still tour performing all their classic jams (woot, I even saw them at a nearby folk festival), they ceased writing new tunes.

Obviously, a greatest hits package followed, arriving in ’84 as Legend. It’s been the definitive Bob Marley & The Wailers collection ever since, seeing countless re-issues, re-masterings, and remix supplements. Every tune you know of the group is here - Buffalo Soldier, Jamming, Stir It Up, I Shot The Sheriff, etc. – though depending on the version you find, not always in its best iteration. For instance, the first runs of Legend featured a live recording of No Woman No Cry, which for my money is the best way to hear the tune (obviously, since I paid for it). Its seven minutes long, so plenty of extended jams go down, but for some stupid reason, it’s been excised from newer copies of the CD in favour of an edited cut. Poor form, made even worse by the same thing happening to my all-time favourite Marley tune, Exodus. Dammit, I don’t care if it’s remastered, you don’t edit that dubby masterpiece! Be wary of such shenanigans if you get Legend for yourself.

Sunday, January 5, 2014

Peter Tosh - Legalize It

Columbia: 1976

An album you’re supposed to have, if you’ve ever been a pothead. You didn’t even have to smoke much, but having Legalize It in your collection signified support of legislation de-criminalizing the wacky-tabacky; or maybe you just needed a familiar, un-ironic record cover to roll your joints on. And yeah, I definitely was something of a ganja indulger when I picked up Peter Tosh’s debut solo album, but it was because I enjoy those vintage roots reggae jams, I swear!

Several others must have too, as Legalize It has gone down as a reggae classic, and seen several re-issues, remasterings, and remixes this past decade (though not as much as his old bandmate, Bob Marley). Heck, some have even gone so far as to give the album a super SACD upgrade, including full-on 5.1 Surround! As the cheap-ass cover to the left shows, I don’t have such a copy in my possession. I found it in a bargain bin, though as this is Columbia, it wouldn’t surprise me if it was one of those Columbia House options you got in the early ‘90s. It’s also about as tinny as a cheap CD transfer can be, which was about the extent I was willing to splurge on a marijuana protest album, even when I was taking tokes on a semi-regular basis.

Actually, title track aside, Legalize It isn’t much about drugs at all. As was a common theme with Mr. Tosh’s work (and for which he got in trouble with authorities for), protests against injustice and poverty is the name of the game …sometimes. He didn’t get really opinionated until his follow-up albums, but opts for a mix of tunes here. So we get the political stuff in Legalize It, Burial (lambasting gangsters and corrupt officials for never attending funerals of the poor …I think) and What’cha Gonna Do? (about a woman who’s family is being ruined by police and ticky-tacky arrests …I’m pretty sure). Following those, there’s tunes about how awesome Jah is (Igziabeher), pleasant love ditties (No Sympathy and Ketchy Shuby …maybe), and broken relationships (Til Your Well Runs Dry). Okay, I have to admit, I had to do some research online about these lyrics, because like all Jamaican music, their gloriously daft version of English can confound even a fifth level linguist expert (he even understands Scottish!).

Let’s face it though: the real reason to check out this album is for those lovely reggae jams. If your only exposure to the genre is Bob Marley or Sly & Robbie, you’ve missed out on what the genre has to offer, as their tunes were often wonderfully studio crafted works. Tosh, on the other hand, comes off more ramshackle and live – which really, is the best way to hear roots music. There’s something entrancing when hearing various instruments seemingly out of sync with each other, yet somehow maintains rhythmic consistency through it all. It’s, like, getting high, or something.

Saturday, January 4, 2014

Leftfield - Leftism

Columbia: 1995

These ‘definitive electronica albums’ often weigh me down. Not for a lack of things to say, oh no – if anything, there’s too much to say, though undoubtedly covered far more extensively than I’d ever manage within self-imposed word count. Trouble arises when you know the narrative, understand the impact, and appreciate the execution, yet can’t always muster the spark that wins you over as it has so many others. I like Leftfield. I like Leftism. I like progressive house – whatever it was supposed to be even back in the day – and have nary an ill thought when it comes to this album. It’s also one of my least played LPs of those seminal mid-‘90s “supposed to have” electronic music releases. In fact, it took me years to finally get around to grabbing a copy, more as a sense of completist obligation rather than any urge to hear Open Up or even Inspection (Check One) again.

Part of the problem is Leftism’s very nature, an attempt at bringing their trend-setting sound into the mainstream consciousness. Not an entirely daft idea, and when Columbia signed Leftfield, I’m sure they figured they’d have similar success as Virgin did with all those other ‘rave’ groups (The Future Sound Of London, The Chemical Brothers, The Massive Attack, etc.). And they were right, Leftism getting sales, plaudits, and all that good stuff. Unlike those acts, however, something feels lost in Leftfield’s transition from underground taste-makers to crossover stars.

Perfect example is the new version of their first hit Song Of Life. The original was a prog-house staple, establishing all the chugging rhythms, clever samples, and dream-like qualities that defined the early scene. On Leftism, however, it opts for the chill road instead, nearly half the track devoted to a revamping of the Song Of Life b-side, Fanfare Of Life. Great sounding cut, of course, but clearly aimed at the home-listening demographic, as is much the album.

Right, Leftfield couldn’t simply release their old club hits in ’95 as they first appeared earlier that decade – the musical innovation arms race was blindingly fast at that time, and grooving, dubby house tunes were already coming off dated. To keep pace, Barnes and Daley dipped their hands in other genres. Techno crops up in Black Flute, Space Shanty, and Afro-Left (though again, the album version pales compared to the pounding Afro Ride cut on the single), breaks get their nod in Storm 3000, trip-hop finds its way care of Original, and chill-out has its moments with Melt and 21st Century Poem; all of which mixed through Leftfield’s trademark bottem-heavy, dubby soundscapes.

Does this sound like too much market-driven genre hopping? Congratulations then, you’ve discovered Leftism’s primary problem. Whether the duo believed they could pull off an ‘all-encompassing’ dance album, or it was mandated by overhead to cover every potential market, I haven’t a clue, but the result is a good sounding LP lacking, erm, progressive electronic music adventurism. We can’t scare away those potential Oasis fans, after all.

Friday, January 3, 2014

Solar Fields - Leaving Home

Ultimae Records: 2005/2008

It’s hard to imagine a guy like Solar Fields having a ‘forgotten album’, but that’s honestly what Leaving Home comes off like. There's a transitional feeling to his third LP on Ultimae, an attempt to move on from the psy dub that made Blue Moon Station such a standout, but not quite reaching the musical diversity and epic scope later albums offered. One of Mr. Birgersson's enduring strengths is his willingness to try something different every time he releases an album, but I don't think he quite knew where he wanted to go next on Leaving Home, resulting in something of a hodgepodge CD.

Case in point: the track list, or rather the track 'demarcation'. The first half of this album is indexed in such a bizarre manner, I have to imagine ol' Magnus deliberately aiming for avant-garde. First tune Home is barely a tune at all, serving more as soundscape lead-in for summery chill-out second cut Time Slide. Fair enough, many albums start this way, but the two blends so seamlessly together, you'd think it was the same track. Insum does more to stand out as something distinct, though noodles about for nearly half the track before establishing a proper melodic theme (a lovely bit of lazy ambient techno featuring strumming strings and sweeping synths ...standard Ultimae at this point, if I'm honest). Couldn't the first half just been an independently indexed interlude?

Following that, we get Star Fruit, Magnetosphere (Star Fruit Part 2), and Stereo Hypnosis (Magnetosphere Part 2). Oh cool, a running theme between three tracks, this should be- what, it's over already? Yep, three individual 'tracks', running a total time less than Insum. What was the point of that? Sure, the drum programming grows more complicated with each track (Star Fruit Part 3 almost enters braindance territory), but couldn't this have been one single track instead? The first two parts are simply too short to have much interest as stand-alones.

Following that, we’re treated to three tracks breaking the ten-minute mark – heck, Monogram breaks the fifteen-minute mark, mostly noodly ambient techno but fine for that sort of thing. The first of this bunch though, Air Song, has three totally different ideas during its run-time, yet isn’t split up like the Star-Fruit-Magnetosphere-Hypnosis sequence that preceded it. It doesn’t ruin the listening experience, mind you – I doubt Solar Fields could release a bad album if he tried – but boy does it make for a wonky looking tracklist.

Right, I haven’t been detailing much of the music itself, mainly because there isn’t much to talk about. Leaving Home has a soft atmosphere running through, chill even for typical Solar Fields chill (and if you aren’t familiar with his sound yet, what are you waiting for!?). Fortunately, it ends strong, with Times Are Good coming off like a Pete Namlook tribute, and the titular final cut featuring a great climax of wordly sounds, synths, and trip-hop breaks. It can be something of an ambient-soup slog to get there though.

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 Ɩyster 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 Canopy Of Stars 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 FjƤder 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 HernĆ”n CattĆ”neo 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 DahlbƤck 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 JĆørn 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 CrĆ©puscule 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 MontanĆ  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 MƤrtini Brƶs 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 Hƶppner 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 HĆøjer Hansen Olga Musik Olien Oliver Lieb Olivier Orand Olsen OM Records Omni Trio Omnimotion Omnisonus On Delancey Street 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 SeĆ”n 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 SphƤre 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 VƤth 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 13th Sign 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 TiĆ«sto 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 TrentemĆøller 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 TĆ½r U-God U-Recken U2 U4IC DJs Ɯberzone 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 zakĆØ Zenith ZerO One Zoharum Zomby Zoo Entertainment ZTT Zyron ZYX Music Āµ-Ziq