Friday, January 31, 2020

Various - Balance Issue N. 12: Lee Burridge

EQ Recordings: 2007

Lee Burridge's adamant he's not prog-house DJ, that he only got roped into that demarcation due to his associations with Sasha's inner circle. Even when he was tapped for the Global Underground offshoot Nubreed series, he went out of his way to include tunes outside the traditional prog-house scope (Deep house! Tech-house! Breakbeats!) And as his career progressed (har, har), he gained a reputation as that 'progressive DJ' you'd go to see if you wanted to hear a varied, eclectic set of tunes, especially on the techno side of things. Cool beans, yo', and now he's tasked with a Balance 3CD set, where previous jocks had worked outside the borders of traditional mix CDs, showcasing eclectic tastes, leftfield genres-

It's minimal. All the way through. *sigh* It is 2007, I guess, the nadir of this trend with prog circles.

I'd be fine with just one disc of the stuff - play it, conclude it's rubbish, never play it again. To dedicate all three to the sound though, with nary a bone thrown to any other genre in existence...

Supposedly Lee wanted this set to represent what you'd hear at a night out him performing, but with dance music as useless to dance to as this, I'd just as soon hang outside with the smokers all night. Maybe wander off for a street kebab before returning to hear if things have gotten better. Nope, still monotonous *thup-thup*.

This isn't even the oft' derided plinky-plonk minimal, but the much worse 'blippy-blomp' strain that 'prog' DJs typically rinsed out. No momentum in the rhythms, tracks perfunctorily played one after the other, utterly devoid of hooks, and all too inwardly fascinated by random sounds and effects. It's the sort of wibble-wankery that psy-trance gets mocked for, but at least psy has some energy to it, what with a rolling bassline cranked to 140bpm and all. No surprise one of 'mnml's biggest acts came from the prog-psy camps.

Mind, there are differences in each CD. Disc one (Orange) is the slower and moodier of the three, and at least has some atmosphere to it thanks to sporadic pads. It also kinda' builds like a traditional prog-house set (breakdowns!), though we're talking the inclination or a street curb here. CD2 (Red) is the most tedious of the lot, somehow getting slower as it moves along, with no track feeding off the last. CD3 (Green) at first had me thinking Lee was gonna' step things up a notch, some actual beef in the beats of opener Dubbel Problematik from Tomas Andersson. We're still a couple years before the Berghain sound came to dominate though, so it's right back into blippty-bloopy minimal. Still, the tracks in Green do maintain a fun, skippity rhythm.

If nothing else, Balance 012 provides a suitable snapshot of a clubbing scene completely devoted to the bandwagon it'd jumped upon. For a time, this was the sound many were certain would carry them into the future. Naturally, none of them would ever play this way again.

Tuesday, January 28, 2020

Various - Balance 010: Jimmy Van M (Original TC Review)

EQ Recordings: 2006

(2020 Update:
Wow, doing 2020 updates now... that's crazy. Ahem..

Jimmy and Chris Fortier were pretty much my favorite 2nd tier prog house/trance jocks, so it's funny that their triple-CD offerings for the
Balance series ended up having opposite effects on me. Whereas I only liked and returned to CD3 of Fortier's set, I've never returned to CD3 of Jimmy's set (and vice-versa with the other discs). However, whereas I've come around to Fortier's other mixes, re-listening to CD3 here only reaffirms just how much these prog-house guys struggled finding their way in the wave of minimal's trendy dominance.

Still, credit due to Mr. van M, paving the way for all those future
Balance releases where eclecticism was celebrated. True, it got a little out of hand, such that the series felt obligated to return to more traditional DJ mix CD outings, but... eh, we'll get there when we get there. For now, I'll simply admit having serious bias to these mixes over the others, in that half the track selection here could have come from my own collection of music.)

IN BRIEF: A mix for electronic music fans by an electronic music fan.

Jimmy Van M is one of those DJs who, despite being in the business for several years, never quite moved beyond underground darling status. While often tapped by Sasha and Digweed to be their warm-up act on tours, his profile has consistently remained stuck in the trenches of clubland while the superstars grab the spotlight.

Still, Jimmy earned him a loyal following that has given him the freedom to explore DJing avenues some would consider counter-productive to creating a larger profile. Take his first official DJ mix. When Ministry Of Sound tapped him for the debut American version of their popular Trance Nation series, ol’ M delivered to them a trance set that was a far cry from the style UK runner Ferry Corsten was compiling. It was, as the old schoolers of the time termed it, “proper trance”, a prog trance set that could have given the heavyweights a run for their money. Of course, for a series known for its epic anthems, this just wouldn’t do and it wasn’t the best way to make a first impression on the masses. Small surprise the follow-up Trance Nation America featured Corsten clone George Acosta and Top 40 favorite ATB.

Perhaps going against the grain was the point though. Jimmy’s style hints at being a music lover first and a DJ second, and the constraint often imposed on DJs by major labels would definitely be unappealing. It seems the Balance series has come along and offered him the freedom of a mix he desires.

So what we have here is an eclectic collection of music spanning nearly two decades, all arranged into three differing discs. Anyone with a passing familiarity with electronic music should recognize a number of these tracks - heck, even steady readers of this website will notice a few (Bill Laswell, Boards Of Canada, Peter Benisch, and others scattered about). Given the amount of time covered, Balance 010 may look like a Back To Mine or Choice collection rather than a current DJ mix, but Jimmy’s arrangement is silky smooth. Tracks sometimes separated by a decade flow together with remarkable skill. As for the details of each disc, they display very unique personalities which fit their tempos.

The most diverse of the lot is the Downtempo Mix. Sets like this one are tricky to pull off, in that the listener’s attention can easily wander when listening to chill music. And even if the strength of individual tracks keeps it from becoming wallpaper muzak, a downtempo set can still lack cohesion if one tries to compile it like a typical dance set; this is music meant to chill out to. So what Jimmy has done here is created a set that dwells on one style for a bit, then moves onto a different style through a bridging bit of ambiance. Dubby world music, psychedelic chill, loungy acid jazz, and avant garde pop all have moments to hold the stage. Because each segment typically runs for only a couple tracks before an ambient interlude leaves it behind, the tempos on this disc wildly vary, which greatly helps keep your attention to see where the mix will take you next. Listening to M’s arrangement of these songs is like floating along a dreamy river where, just when you feel like you’ve gotten a handle on the scenery around you, the landscape morphs into something unexpected yet fits with what came before.

In case the loose nature of the Downtempo Mix has you fearing the others are going to be like that, worry not: the Midtempo Mix tightens things up considerably.

Oh, not all at once, mind you. The opening bit of the second disc displays the same amount of genre-jumping as the first, going from Miles Tilmann’s intelligent techno offerings into something more ethereal and organic for a couple tracks afterwards (including the haunting oldie Blue Bell Knoll from Cocteau Twins - now there’s something unexpected in a ‘dance’ mix!). Jimmy returns us to the intelligent techno after this diversion, although it isn’t the glitchy noise-fest the term IDM has become associated with. Most of it is the mellow grooving sort that would often be found on plenty of ambient techno compilations from the early '90s. Heck, Aphex Twin’s Delphium was on such compilations. There’s a fair deal of newer material within this lot though, including some super-rare material from Adam Johnson: the bottom-heavy track Kriegspiel is definitely a highlight here.

Towards the end of the Midtempo Mix, Jimmy smoothly moves us from the techno into territory he’s more known for: prog house. There’s only a few tracks to gorge on here, but each easily fits the within the mix’s dark, groovy futuristic theme. Also, one might find playing the full fifteen minutes of Underworld’s remix of Cool Kids Of Death cheeky, but given the fact the track manages to hold your interest for the duration is a testament to that group’s songcraft prowess.

And now the third disc. The Uptempo Mix... well, uptempo when compared to the other two. The BPM doesn’t get much higher than the mid-130s, which, for a DJ known mostly for prog house, is about par for the course.

Here, Jimmy keeps things current. Every track is from the year 2006 and not a moment earlier. Because this is more of a representation of what you might hear at a club rather than something for at home, this mix doesn’t display anywhere near the diversity of the other two. The quick and easy lump term for it would probably be (cringe) ‘minimal,’ but aside from a few early tracks, M remains within tech house’s territory... and prog house, I guess, since that genre’s been borrowing elements of tech and minimal lately. Ah, hell. Since there’s generous influences from many other styles of music lurking in this tech house mix (trance, tribal, acid, electro), let’s just call this style “...Except-The-Kitchen-Sink House.” Or, like so many others, minimal tech-house. Argh! I’m going bleary eyed with all these adjectives! Anyhow, this is mostly tech house with prog influences, and despite having the Uptempo header, is quite low-key in its delivery. Things do groove along nicely for the most part and there’s a good acid peak-out moments in the middle courtesy of Tom Pooks’ Docker, but as with much of this kind of music, it makes better sense on the dancefloor or while doing something active than sitting back at home.

The particulars out of the way, I suppose I should answer the big question: is this edition of the Balance series worth your money if you happen to own a number of these tracks elsewhere. The strength of Jimmy’s mix (any good DJ’s, really) is in taking tracks dedicated trainspotters are familiar with and putting them into a set where they can take on a new context. Hell, I never would have imagined Delphium would have worked as a perfect segue into prog house, yet M pulls it off with ease here (as just one example of many available). However, the Uptempo Mix doesn’t quite live up the expectations set out by the first two, so Balance 010 doesn’t get the super high marks a top notch DJ mix would normally earn.

In spite of this, Jimmy’s offering for the Balance series is a worthy pick up for electronic music lovers. The first two discs will easily remind you why you fell in love with this music in the first place, and the third is a decent bonus to groove on.

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

Monday, January 27, 2020

Various - Balance 008: Desyn Masiello

EQ Recordings: 2005

Before getting into Desyn Masiello's contribution to the Balance series, I feel it necessary to confirm that, yes, I don't have James Holden's edition. For sure I've heard it, and I thought to myself, “Gosh, if it ever comes down in price, I may pick that up.” It never did, growing more pricey as the years went on. Not some of those other Balance mixes though!

Straight up, I don't know much about Mr. Masiello, and to be fair, neither does the modern internet. Chap apparently had quite the run of success within prog-house circles at the start of the '00s, often name-dropped among the Next Generation of DJs leading that scene into the future. Except he didn't, nearly any records of solo output drying up from Discoggian archives following this release, retreating into the DJ conglomerate SOS thereafter. No follow-up DJ mixes, no big singles, and no in-demand remixes. For all intents, Desyn peaked out with Balance 008, then decided the fame of having a 'Best of 2005' set out on the market was all the taste of the limelight he needed. Time to get back behind the decks, with two other guys running photo interference.

By the by, when I saw Discoggian posts claiming Balance 008 got a 'Best Of 2005' honour, I had a hard time figuring out from who. Like, DJ Mag, or Mixmag? Surely not Resident Advisor, but lo', when I checked, there it was! I couldn't believe they would have considered a set such as this among the best releases of that year, but then, RA was still in the habit of dishing out 3.5/5's to the likes of Ferry Corsten and Armin van Buuren. Ah, your older shame will never be wiped away, RA.

Right, the music. It definitely isn't 'prog' in any traditional sense, that's for sure. I've seen the word electro bandied about for Desyn's selection, but coming off Chris Fortier's proper electro exercise in Balance 007, that just won't do either. Still, there's definitely something of an '80s space disco vibe going on with CD1, with occasional Moroder basslines sprinkled about the retro synths. Even when Desyn tries steering things into traditional prog and anthem house territory for the finish, there's still that space disco feeling lingering in the air.

Chris Lake's piano anthem Changes ends CD1 on a pretty big high, almost impossible to follow upon in CD2. So Mr. Masiello doesn't even try, instead getting a little indulgent by opening with Orbital's Halcyon Anonanon. Okay, sure, not my favourite Orbital tune, but I'm sure has plenty of personal feels for Desyn. This set's a bit all over the place though, running through loopy disco house, funky synthy house, Hed Kandi anthem house (thanks, Joey Negro), and deeper tech-house. Some good tunes in there, but not as cohesive as CD1 was. Ah well, at least there was no sign of the dreaded 'mnml' bug in here. The Balance series wasn't gonna' hold that off for much longer though.

Sunday, January 26, 2020

Various - Balance 007: Chris Fortier

EQ Recordings: 2005

Balance? What is this? I recall that Bill Hamel guy was involved, but when the DJ mix market was flooded with serviceable prog sets with interesting photographic cover art, you'll forgive me for passing on the series' early editions. Tell me that Chris by-God Fortier has been tapped for a whopping 3CD set, however, and you've got my attention! Dude had twice kept my prog faith alive by that point, the previous year's Audiotour all but cementing my notion he could do no wrong. And now he was unleashing a triple-discer of the stuff? Who cares if I have to import it from Australia, there's no way this could go wrong!

Balance 007 became my least played release from Mr. Fortier, some of the CDs un-played since I first threw them on fifteen years ago. Oh... oh no! How did that happen?

It didn't take long to remember the sinking feeling with CD1. With an early run of trendy minimal tech-haus, it was my first indication that the prog bandwagon jump into that genre wasn't going to be pretty. Hell, the tunes from Alex Smoke and 2 Doller Egg aren't even that bad compared to what was to come, but stacked against the deep proggy vibes of Chris' previous mix CD, it was a serious letdown. Shame on me too, because the back-half of CD1 features some mint Soma Quality Recordings techno. My brain just wasn't ready to accept it from a Fortier set, I guess.

Even worse, I was so checked out on what Fortier was doing with Balance 007 that I barely registered he supplied the prog I was craving in CD2. To be fair, the start of this disc is somewhat misleading, getting in on a little menacing robot music action. Plus, Vector Lovers is here! Oh man, hearing one of my favourite electro producers was so unexpected and enjoyed, nothing better could follow it, despite coming so early in the set. Have I mentioned I never realized there's some mighty fine deep, dubby prog in the back-half of CD2, that I only realized just now, after revisiting Balance 007 all these years later?

Honestly though, the main reason the first two discs of this triple-discer faded from my memory is because of CD3, a surprising bonus outing of proper electro from the Fade Records founder (plus a little Floridian and prog-breaks action towards the end). And when I say proper, I mean proper, Mr. Fortier firmly declaring the lamented appropriation of the word for obnoxious acid-fart house music an injustice to the roots of robot-funk music. Aw, man... brother, I feels you so hard in the year 2005, I do. *fist taps the heart* For sure, anytime I grabbed Balance 007, it was always CD3 played first and only. Such a breath of fresh air then, and still holds up remarkably well now. As do the other discs too, even if it took me this long to accept it.

Friday, January 24, 2020

Gas - Nah Und Fern: Pop

Mille Plateaux/Kompakt: 2000/2008

(a Patreon Request from Omskbird)

One of some dozen ambient albums you're supposed to have, particularly if you're not a fan of ambient music. Naturally, as someone who considers himself a connoisseur of the genre, such a consensus had me a little skeptical of Pop's adulation. It's no small task in paring a scene as long lasting and expansive as this one down to a select few Must Haves, the standouts demanding something truly unique to stand out from the glut of releases.

So when I gave Pop a whirl, I thought to myself, yeah, there's some nice sounding tones, looping samples into an otherworldly atmosphere one can easily lose their headspace in. Isn't this a style already covered by the likes of Zoviet France and Rapoon though? Maybe so, but I'm sure folks checking out the fourth Gas album on the basis of a glowing Pitchfork recommendation weren't the sort to have delved into industrial ambient's back catalogue. Still, I couldn't help but wonder why it was Wolfgang Voigt's project that got such attention from the indie sect, and I could only surmise it being out on Mille Plateaux, a label already gaining hipster cred from its clicks 'n' cuts series of glitch releases. Throw in the cheeky concept of this being a 'pop' album, so named from the choice of orchestral samples being on the lighter side of the music, and you've crafted quite the cocktail of indie swoon.

Such knee-jerk dismissals on my part should have no bearing on how this album holds up though, with plenty of time and distance from initial reactions. To which I say, for the most part, I enjoy this, and even manages to stand distinct from countless other ambient records released since that emulate the otherworldly warmth crafted here (and believe me, there's been plenty). I could leave the first two tracks off Pop, in that those clicky-hissy noises that serve as a pseudo-rhythm do nothing but grate on my senses, almost token throw-away glitch sounds required of a Mille Plateaux release. What are those anyway, money counting machines pitched way up? Just lay the layers of looping drone on me like a warm blanket, Wolf-mang!

Or hey, offer up some of those dubbed-out rhythms, though I'm glad to hear Mr. Voigt found a way to change those up some too, having grown a tad stale by Königsforst. Thus Pop IV features a looping rhythm that cheerfully bounces with an echoing bell tone. Elsewhere, we have the 'classic' Gas dub techno rhythm for the final fifteen-minute closer, lending the track a surprisingly grand atmosphere following all that drone. Pop music indeed.

Could I recommend other ambient albums over this? Yeah, probably, but if you're just getting your feet wet, Pop is as good of an entry point as any for getting a feel of the genre's myriad styles. I have no contention in seeing this appear on 'Best Of' lists. Just, y'know, don't act surprised when I don't include it my own mythical 'Best Of' list.

Wednesday, January 22, 2020

Gas - Nah Und Fern: Königsforst

Mille Plateaux/Kompakt: 1998/2008

(a Patreon Request fro Omskbird)

I must admit, when I got this Gas box-set, my initial plan wasn't to review these CDs in chronological order. Nay, I thought it'd be cheeky fun to do the original request first, Königsforst, then come back to the rest in my usual alphabetical order. For sure I'd make it clear these review copies came from Nah Und Fern, but my OCD wouldn't allow me to do it in any other order. Or something.

When I threw Königsforst on for the first time, however, I came to the quick conclusion that I was gonna' have to hear the rest of the Gas catalogue for context. Yeah, I'd heard Pop in the past, but something led me to suspect that wasn't enough. And if I'm to play through Nah Und Fern for 'studying' purposes, I may as well get those reviews done while I'm at it too.

As an aside of quirky factoids, when I ripped the CDs to my harddrive, they all did so as part of Nah Und Fern, except this one. I get why that would have happened with Gas, significantly different compared to the Mille Plateaux version as it is. Zauberberg did have a slight change too, one of its tracks extended compared to the original, but surely the digital version included this change as well. Like, I'm assuming that's why Königsforst defaulted to stand-alone info rather than the box-set, and that re-reissue is more current than Zauberberg's. Ah, I'm dawdling.

I guess it's clear my thoughts and feelings over Königsforst are lukewarm at best. I thought it at least interesting upon first playthrough, with Königsforst V being a definite highlight in invoking some actual emotion out of my brain. Plus, those stereo-pan kicks in Königsforst II did a remarkable job of keeping me entranced while all those dronescapes droned on. Unfortunately, I couldn't shake the sense I was listening to music as concept over music as engagement. Par for the course with experimental music, especially on a label like Mille Plateaux, but given the endless adulation Wolfgang Voigt's project has generated over the years, I wondered if I was missing something (not the first time I've had an issue with Gas).

Yet, I found those older albums more interesting than this. The raw exploration of Gas and the conceptual journey of Zauberberg simply struck my cerebellum better, whereas Königsforst just felt like Wolfgang going through the motions. Here are more orchestral samples stretched and layered into dronescapes, here are more dubbed-out beats emanating from the deepest parts of the forest. This album certainly encompasses all the elements you'd expect out of a Gas record, and does occasionally reach the lofty heights the project's decades-long praise has generated. Still, it's mostly carried by One Neat Trick. A rather clever one but at three albums deep now, not showing much in the way of evolution. Not that it needs to either, just I need to hear something more from the project get more invested in it.

Monday, January 20, 2020

Gas - Nah Und Fern: Zauberberg

Mille Plateaux/Kompakt: 1997/2008

(a Patreon Request fro Omskbird)

It didn't take Wolfgang Voigt long to figure out exactly what this Gas project could entail, so by the second album, he was feeling a little more experimental. Yes, experimental upon the already experimental nature of these looping, ambient-techno dronescapes. There's only so much one can do with the basic concept, and while it may be fine for some producers to keep recycling the same songcraft in different keys, Mr. Voigt did find a way to mix things up some in his sophomore Gas album, Zauberberg (named after a German book called The Magic Mountain - I know nothing about it, beyond it being a Very Important novel in the world of German novels).

Rather than maintaining one consistent mood throughout an LP's running length, he opted for a contrast, Zauberberg growing ever darker and bleak as the album progresses. Then, the ray of light at the end, knocking you out of your insular, depressive mood. Man, what kind of stroll through the woods must have Wolfgang had if this was the inspiration for his second Gas album? Incidentally, the original cover art for Zauberberg does a great job reflecting this atmosphere, what with its stark reds and blacks. It's a shame that art wasn't retained in some form for Nah Und Fern, even as a little booklet. Like, did Mille Plateaux own original rights to the photography? It is quite striking, especially for a label most famous for being purveyors of clicks 'n' cuts. Mmm, naturalist imagery, in an unnatural way.

Beyond the incremental tone shifting of the album, what struck me most about Zauberberg is how much felt space there is between the layered, droning strings and distant, muffled rhythms. I get why Mr. Voigt may feel the earlier Gas pieces weren't so reflective of the project's whole, the rhythms in the debut album more pronounced and direct compared to subdued, heartbeat throb of a bassline that'd define his later output. Now this is Art, none of that 'techno' nonsense! I keed, I keed...

Seriously though, by Zauberberg IV, the steady beat is almost completely muted, with a sombre, dissonant string section that reminds me of horror music. Following that, Zauberberg V actually gives its muted rhythm more prominence, but it's such a commanding marching beat with an almost equally distant strings, it feels like I'm watching a zombie WWII army move over German hills (from a safe distance). As Zauberberg VI plays out with eerie tones and drones, I can't help but wonder if I'm instead listening to a proper dark ambient project. Well, aside from that never-ending techno kick piercing the murk.

All is not forlorn and bleak, however, as Zauberberg VII ends the album on one of those pure angelic ambient drone pieces straight from the books of... Okay, not really New Age in the strictest sense, but man, don't that blissy tone give me all the tranquil feels. A real soul cleanser, after the dark, dank paths the previous few tracks took us.

Sunday, January 19, 2020

Gas - Nah Und Fern: Gas

Mille Plateaux/Kompakt: 1996/2008

(a Patreon Request fro Omskbird)

Technically, this was supposed to be a review request for the Gas album Königsforst, originally released on Mille Plateaux way back in 1998. I sniffed around for a decently-priced copy, but as you can imagine, such a CD isn't cheap to come by these days. I could have sprung for a digital copy instead, but in my searching, I noticed the Gas re-issue box-set Nah Und Fern had come down to a reasonable price, and thought to myself, “Eh, why not?” Thus, I'm now reviewing the entire catalogue of Mille Plateaux Gas albums, as released by Kompakt. So... not quite the original albums, but I'll get to that ...right now!

Yes, of all the Gas albums to be tweeked for the box-set re-issue, the self-titled debut saw the most changes. Two tracks were replaced, one for perhaps the better, the other not so much, depending on who you ask. Hey, at least the rest of Gas was retained, which is more to be said for the more recent Gas re-issue box-set titled Box, wherein Gas was completely jettisoned in favour of inclusion of the Oktember EP released during the original run of Gas albums. Of course, with the subsequent release of additional Gas albums following Box, there's always a chance another Gas box set could emerge which will bring back the original version of Gas. Heck, maybe even throw in the original-original Gas EP, Modern, released on Profan, though Wolfgang Voigt has made it clear that sound is too far removed from where he took the project for revival consideration.

And what, pray tell, is the Gas sound that has made so many slightly pretentious sorts quiver in their headphones? Drone ambient, mostly, though done in a rather clever way, wherein mood and memory are invoked more than the usual abstract sound paintings the genre aims for. Why, there's even techno beats on some of these tracks, though minimalist and heavily subdued and dubbed out, such that they reverberate from distant locations obscured by dense forest and fauna. Wolfgang has stated he wanted to capture the feeling of wandering through the woods while indulging psychedelics, and I must admit, hearing these cavernous beats with embers of melody over looping drone does remind me of taking the back paths between stages at outdoor music festivals. You recognize the base details, but they're all mushed into an unending wall of sound, only trace musical elements coming through.

As for the replaced Gas III, I'm not surprised the original was taken out, almost a conventional dub techno track compared to the layered tones the other tracks featured. Instead, Gas III does the pure, crackly dronescape thing, with a sporadic, slowed string pluck. Quite reminds me of the few items I've heard out of the Slaapwel Records camp, though about a fifth the running time. Still, I wouldn't be surprised in the slightest if some of those musicians took inspiration from these Gas pieces. The ones without the techno beat, anyway.

Wednesday, January 1, 2020

A New Year, A New Decade, A New Status Update

No playlist this month, sorry. Yeah, there were a few items I managed to review at the start of December before Real World work consumed just about all my free time, but I don't think there's enough there to warrant making a playlist out of. Figured I would just lump them in with whatever I get through this month too. Still, I can't confirm for certain when I'll be back on a regular schedule either. No sooner than mid-month, that's for certain. While I'm no longer working six days a week, there's still quite a bit of company shake-up coming up. My status is more or less secured, but how it'll affect a lot of other things is still in limbo. Will have to see how the New Normal unfolds before I figure out any sort of hobby schedule again. Gives me time to get through all those 3CD Balance mixes at least. Oh yes, there's quite a few of those coming down the line.

Do I have much to say about The Year 2019? Not a whole lot, to be honest. At least the Guide finally got released, but as is so often the case, I spend far more time gathering up music from the past than keeping terribly current. I thought I'd be close to finishing this by now, but hey, that's life. I've far less free time than I did at the start of the decade, but so it goes the older you get. I'd honestly be disappointed in myself if I hadn't made some sort of 'career progress' in that amount of time.

As for this blog, perhaps there's a little disappointment it never got much bigger than it current is, but that's totally on me. I have too much 'old-school' mentality regarding internet promotion, still believing if I just put it out there with no advertising and fanfare, folks discovering it will appreciate it more as something they discovered. And that may still be true to some small extent, but with YouTubes and podcasting becoming the dominate forms of content consumption, simple text blogs have become quite archaic indeed.

Expansion and franchising never was the point of this though. It was a simple project/challenge/OCD obsession that got it rolling, and will likely remain as such until I finally feel I've no more to say. That time has yet to come, though I won't deny I don't feel as much pressing need to say it as of late. Maybe when there's more sun in the sky again.

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 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 Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acoustic Acroplane Recordings Adam Freeland Adham Shaikh ADNY Adrian Younge adult contemporary Advanced UFO Phantom Aegri Somnia Aes Dana Afrika Bambaataa Afro-house Afterhours Agoria Aidan Casserly Aira Mitsuki Ajana Records Ajna AK1200 Akshan album Aldrin Alex Smoke Alex Theory Alice In Chains Alien Community Alien Project Alio Die All Saints Alphabet Zoo Alphaxone Altar Records Alter Ego alternative rock Alucidnation Ambelion Ambidextrous ambient ambient dub ambient techno Ambient World Ambientium Ametsub 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 Aoide Aphasia Records Aphex Twin Apócrýphos Apollo Apple Records April Records Aqua Aquarellist Aquascape Aquasky Aquila Arcade Architects Of Existence arena rock Arista Armada Armin van Buuren Arpatle Arts & Crafts ASC Ashtech Asia Asian Dub Foundation Astral Projection Astral Waves Astralwerks AstroPilot Asura Asylum Records ATCO Records Atlantic Atlantis atmospheric jungle Atomic Hooligan Atrium Carceri Attic Attoya Audion AuroraX Autechre Autistici Autumn Of Communion Avantgarde Aveparthe Avicii Axiom Axs Axtone Records Aythar B.G. The Prince Of Rap B°TONG B12 Babygrande Balance Balanced Records Balearic ballad Banco de Gaia Bandulu Battle Axe Records battle-rap Bauri Beastie Boys Beat Buzz Records 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 L Big Life Bill Hamel Bill Laswell BIlly Idol BineMusic BioMetal Biophon Records Biosphere Bipolar Music BKS Black Hole Recordings black rebel motorcycle club Black Swan Sounds Blanco Y Negro Blasterjaxx Blend Blood Music Blow Up Blue Amazon Blue Öyster Cult blues Bluescreen Bluetech BMG Boards Of Canada Bob Dylan Bob Marley Bobina Bogdan Raczynzki Bone Thugs-N-Harmony Boney M Bong Load Records 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 C.I.A. Calibre calypso Canibus Canned Resistor Capitol Records Capsula Captured Digital Carbon Based Lifeforms Carl B Carl Craig Carol C Caroline Records Carpe Sonum Records Castroe Cat Sun CD-Maximum Ceephax Acid Crew Celestial Dragon Records Cell Celtic Cevin Fisher Cheb i Sabbah Cheeky Records chemical breaks Chihei Hatakeyama chill out chill-out chiptune Chris Duckenfield Chris Fortier Chris Korda Chris Sheppard Chris Witoski Christmas Christopher Lawrence Chromeo Chronos Chrysalis Ciaran Byrne cinematic soundscapes Circular Cirrus Cities Last Broadcast City Of Angels CJ Stone Claptone classic house classic rock classical Claude Young Clear Label Records Cleopatra Cloud 9 Club Cutz Club Tools Cocoon Recordings Cold Spring Coldcut Coldplay coldwave Colette collagist Columbia Com.Pact Records comedy Compilation Comrie Smith Connect.Ohm conscious Control Music Convextion Cooking Vinyl Cor Fijneman Corderoy Cosmic Gate Cosmic Replicant Cosmo Cocktail Cosmos Studios Cottonbelly Council Of Nine Counter Records country country rock Covert Operations Recordings Craig Padilla Crazy Horse Cream Creamfields Creedence Clearwater Revival Crockett's Theme Crosby Stills And Nash Crosstown Rebels crunk Cryo Chamber Cryobiosis Cryogenic Weekend Cryostasis Crystal Moon Cube Guys Culture Beat Curb Records Current Curve cut'n'paste Cyan Music Cyber Productions CyberOctave Cyclic Law Cygna Cyril Secq Czarface D-Bridge D-Fuse D-Topia Entertainment Dacru Records Daddy G Daft Punk Dag Rosenqvist Damian Lazarus Damon Albarn Dan The Automator Dance 2 Trance Dance Pool dancehall Daniel Heatcliff Daniel Lentz Daniel Pemberton Daniel Wanrooy Danny Howells Danny Tenaglia Dao Da Noize dark ambient dark psy darkcore darkside darkstep darkwave Darla Records Darren McClure Darren Nye DAT Records Databloem dataObscura David Alvarado David Bickley David Bridie David Guetta David Morley DDR De-tuned Dead Coast Dead Melodies Deadmau5 Death Grips Death Row Records Decimal 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 Depeche Mode Der Dritte Raum Derek Carr Detroit Devin Underwood Deysn Masiello DFA DGC diametric. Dido Dieselboy Different DigiCube Dillinja dirty house Dirty South Dirty Vegas 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 Dan DJ Dean DJ Gonzalo DJ Heather DJ John Kelley 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 Dopplereffekt Dossier Dousk downtempo dowtempo 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 drunken review dub Dub Pistols dub techno Dub Trees Dubfire dubstep DuMonde Dune Dusted Dynatron E-Mantra E-Z Rollers Eardream Music Earth Earth Nation Earthling Eastcoast Eastcost EastWest Eastworld Eat Static EBM Echodub Ed Rush & Optical Editions EG EDM World Weekly News Ektoplazm 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 Engine Recordings Enigma Enmarta EP Epic epic trance EQ Recordings Erased Tapes Records Eric Borgo Erik Vee Erol Alkan Escape Esoteric Reactive ethereal Etnica Etnoscope Euphoria euro dance eurotrance Eurythmics Eve Records Everlast Ewan Pearson Exitab experimental Eye Q Records Ezdanitoff F Communications Fabric Fade Records Faithless Falcon Reekon Fallen fanfic Fantastisizer Fantasy Enhancing Fatboy Slim Fax +49-69/450464 Fear Factory Fedde Le Grand Fehrplay Feist Fektive Records Felix da Housecat Fennesz Ferry Corsten FFRR field recordings Filter filters Final Fantasy Firescope Five AM Fjäder Flashover Recordings Floating Points Flowers For Bodysnatchers Flowjob Fluke Flying Lotus folk Fontana footwork Force Intel Fountain Music Four Tet FPU Frank Bretschneider Frankie Bones Frankie Knuckles Frans de Waard Fred Everything freestyle French house Front Line Assembly Fugees full-on Fun Factory funk future garage Future Sound Of London futurepop g-funk 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 Gerald Donald Get Physical Music ghetto Ghostface Killah Ghostly International glam Gliese 581C glitch Global Communication Global Underground Globular goa trance God Body Disconnect Gorillaz gospel Gost goth Grammy Awards Gravediggaz Green Day Grey Area Greytone Gridlock grime Groove Armada Groove Corporation Grooverider grunge Guru Gustaf Hidlebrand Gusto Records GZA H2O Records Haddaway Halgrath happy hardcore hard house hard rock hard techno hard trance hardcore Hardfloor hardstyle Harlequins Enigma Harmless Harmonic 33 Harold Budd Harthouse Harthouse Mannheim Hawtin 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 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 Hybrid Hybrid Leisureland Hymen Records Hyperdub Hypertrophy hypnotic records I Awake I-Cube i! Records I.F.O.R. I.R.S. Records Iboga Records Ice Cube Ice H2o Records ICE MC IDM Igorrr illbient Imperial Dancefloor Imploded View In Charge In Trance We Trust Incoming Incubus Indica Records indie rock Industrial Infected Mushroom Infinite Guitar influence records Infonet Ink Midget Inner Ocean Records Insane Clown Posse Inspectah Deck Instinct Ambient Instra-Mental Inter-Modo Interchill Records Internal International Deejays Gigolo Interscope Records Intimate Productions Intuition Recordings ISBA Music Entertainment Ishkur Ishq 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 Horner 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 Jimmy Van M Jiri.Ceiver Jive Jive Electro Jliat Jlin 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 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 Jurassic 5 Kaico Kay Wilder KDJ Ken Ishii Kenji Kawai Kenny Glasgow Keoki Keosz Kerri Chandler Kevin Braheny Kevin Yost Kevorkian Records Khooman Khruangbin Ki/oon Kid Koala Kiko 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 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 Lab 4 Ladytron LaFace Records Lafleche Lamb Lange Large Records Lars Leonhard Laserlight Digital LateNightTales Latin Laurent Garnier LCD Soundsystem Le Moors Leaf Leama and Moor Lee 'Scratch' Perry Lee Burridge Lee Norris Leftfield Legacy Legiac Legowelt Leon Bolier Les Disques Du Crépuscule LFO Linear Labs Lingua Lustra liquid funk Liquid Sound Design Liquid Stranger Liquid Zen Live live album LL Cool J Loco Dice Lodsb London acid crew London Classics London Elektricity London Records 90 Ltd London-Sire Records Loop Guru Loreena McKennitt Lorenzo Masotto Lorenzo Montanà Lost Language Lotek Records Loud Records Louderbach Loverboy Luaka Bop Luciano Luke Slater Lustmord M_nus M.A.N.D.Y. M.I.K.E. Madonna Magda Magik Muzik Mahiane Mali 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 Cooper Martin Nonstatic Märtini Brös Marvin Gaye Maschine Massive Attack Masta Killa Matthew Dear Max Graham maximal Maxx MCA Records McProg Meanwhile Meat Loaf Meditronica Memex Menno de Jong Mercury Mesmobeat metal Metamatics Method Man 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 Mo Wax Mo-Do MO-DU Moby Model 500 modern classical Modeselektor Moist Music Moodymann Moonshine Morgan Morphology Moss Garden Motech Motorbass Moving Shadow 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 Nas Nashville Natural Midi Nature Sounds Naughty By Nature Nebula Neil Young Neo-Adventures Neon Droid Neotantra Neotropic nerdcore Nervous Records Nettwerk Neurobiotic Records New Age New Beat New Jack Swing new wave Nic Fanciulli Nick Höppner Night Time Stories Nightwind Records Nimanty Nine Inch Nails Ninja Tune Nirvana nizmusic No Mask Effect Nobuo Uematsu noise Nomad Nonesuch Nonplus Records Nookie Nordic Trax Norman Feller North South Northumbria Not Now Music Nothing Records Nova NovaMute NRG Ntone nu-italo nu-jazz nu-skool Nuclear Blast Entertainment Nulll Nunc Stans Nurse With Wound NXP Oasis Octagen Offshoot Offshoot Records Ol' Dirty Bastard Olan Mill Old Europa Cafe old school rave Ole Højer Hansen Olga Musik Olien Oliver Lieb Olsen OM Records Omni Trio Omnimotion Omnisonus One Little Indian 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 Outpost Records Overdream P-Ben Paleowolf Pan Sonic Pantera Pantha Du Prince Paolo Mojo Parlaphone Patreon Paul Moelands Paul Oakenfold Paul van Dyk Pendulum 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 Pole Folder politics Polydor Polytel pop Popular Records Porya Hatami post-dubstep power electronics Prince Prince Paul Prins Thomas Priority Records Profondita prog prog psy prog-psy 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 psychedelia Psychick Warriors Ov Gaia Psychomanteum Psychonavigation Psychonavigation Records Psycoholic Psykosonik Psysolation Public Enemy punk punk rock Pureuphoria Records Purl Purple Soil Push PWL International Quadrophonia Quality Quango Quantum Quinlan Road R & S Records R'n'B R&B Rabbit In The Moon Radio Slave Radioactive Radioactive Man Radiohead Rae Raekwon ragga Rainbow Vector raison d'etre Ralph Lawson RAM Records Randal Collier-Ford Random Review Rank 1 rant Rapoon RareNoise Records Ras Command Rascalz Raster-Noton Ratatat Raum Records RCA React Red Jerry Refracted reggae remixes Renaissance Renaissance Man Rephlex Reprise Records Republic Records Resist Music Restless Records RetroSynther Reverse Alignment Rhino Records Rhys Fulber Ricardo Villalobos Richard Durand Riley Reinhold Ringo Sheena Rising High Records RnB Roadrunner Records Robert Hood Robert Miles Robert Oleysyck Roc Raida rock rock opera rockabilly rocktronica Roger Sanchez ROIR Rollo Rough Trade Rub-N-Tug Ruben Garcia Rumour Records Running Back Ruthless Records RZA S.E.T.I. Sabled Sun SadGirl Sakanaction Salt Tank Salted Music Salvation Music Samim Samora sampling Sanctuary Records Sander van Doorn Sandoz SantAAgostino Sarah McLachlan Sash Sasha Saul Stokes Scandinavian Records Scann-Tec sci-fi Scooter Scott Grooves Scott Hardkiss Scott Stubbs Scuba Seán Quinn Seaworthy Segue Sense Sentimony Records Sequential Seraphim Rytm Setrise Seven Davis Jr. Sghor sgnl_fltr Shackleton Shaded Explorations Shaded Explorer Shadow Records Sharam Shawn Francis shoegaze Si Matthews 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 Skare Skin To Skin Skua Atlantic Slaapwel Records Slam Sleep Research Facility Slinky Music 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 Solieb Soliquid Solstice Music Europe 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 synth Spacetime Continuum Spaghetti Recordings Spank Rock Special D Specta Ciera speed garage Speedy J SPG Music Spicelab Spielerei Spiritech spoken word Spotify Suggestions Spotted Peccary SPX Digital Squarepusher Squaresoft Stacey Pullen Stanton Warriors Star Trek Stardust Statrax Stay Up Forever Stephanie B Stephen Kroos Steve Angello Steve Brand Steve Lawler Steve Miller Band Steve Porter Steven Rutter Stijn van Cauter Stone Temple Pilots Stonebridge Stormloop Stray Gators Street Fighter Stuart McLean Studio K7 Stylophonic Sub Focus Subharmonic Sublime Sublime Porte Netlabel Subotika Substance Suduaya Sun Station Sunbeam Sunday Best Recordings Supercar Superstition surf rock Susumu Yokota Sven Väth Swayzak Sweet Trip swing Switch Swollen Members 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-house tech-step tech-trance Technical Itch techno technobass Technoboy Tectonic Telefon Tel Aviv Terminal Antwerp Terra Ferma Terry Lee Brown Jr Textere Oris The Angling Loser The B-52's The Beach Boys The Beatles The Black Dog 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 Gentle People The Glimmers The Green Kingdom The Grey Area The Hacker The Herbaliser The Human League The Irresistible Force The KLF The Misted Muppet The Movement The Music Cartel The Null Corporation The Oak Ridge Boys The Offspring The Orb The Police The Prodigy The Sabres Of Paradise The Shamen The Sharp Boys The Sonic Voyagers The Squires The Tea Party The Tragically Hip The Velvet Underground The Wailers The White Stripes The Winterhouse themes Thievery Corporation Third Contact Third World Tholen Thrive Records Tiefschwarz Tiësto Tiga Tiger & Woods Time Life Music Time Warp Timecode Timestalker Tipper Tobias Tocadisco Todd Terje Tom Middleton Tomita Tommy Boy Ton T.B. Tone Depth Tony Anderson Sound Orchestra Too Pure Tool tools Topaz Tosca Toto Touch Tourette Records Toxik Synther Traffic Entertainment Group trance Trancelucent Tranquillo Records Trans'Pact Transcend Transformers Transient Records trap Trax Records Trend Trentemøller Tresor tribal Tricky Triloka Records trip-hop Trishula Records Tristan Troum Troy Pierce TRS Records Tsuba Records Tsubasa Records Tuff Gong Tunnel Records Turbo Recordings turntablism TUU TVT Records Twisted Records Type O Negative U-God U-Recken U2 U4IC DJs Überzone Ugasanie UK acid house UK Garage UK Hard House Ultimae Ultimae Records Ultra Records Umbra Underworld Union Jack United Dairies United DJs Of America Universal Motown Universal Music Universal Records Universal Republic Records Unknown Tone Records UOVI Upstream Records Urban Icon Records Utada Hikaru V2 Vagrant Records Valiska Valley Of The Sun Vangelis Vap Vector Lovers Venetian Snares Venonza Records Vermont Vernon Versatile Records Verus Records Verve Records VGM Vice Records Victor Calderone Victor Entertainment Vince DiCola Vinyl Cafe Productions Virgin Virtual Vault Virus Recordings Visionquest Visions Vitalic vocal trance Vortex Wagram Music Waki Wanderwelle Warner Bros. Records Warp Records Warren G Water Music Dance Wave Recordings Wave Records Waveform Records Wax Trax Records Way Out West WEA Wednesday Campanella Weekend Players Weekly Mini-Review Werk Discs Werkstatt Recordings WestBam White Swan Records Wichita Will Saul William Orbit Willie Nelson world beat world music writing reflections Wrong Records Wu-Tang Clan Wurrm Wyatt Keusch Xerxes The Dark XL Recordings XTT Recordings Yamaoko Yello Yes Ylid Youth Youtube YoYo Records Yul Records Zenith ZerO One Zoharum Zomby Zoo Entertainment ZTT Zyron ZYX Music µ-Ziq