Showing posts with label reggae. Show all posts
Showing posts with label reggae. Show all posts

Thursday, July 6, 2023

Dub_Connected - Vol. 1 - Mind The Gab!

Liquid Audio Soundz: 2000

I've dabbled in Gabriel Le Mar's material here and there, but there's more I should be digging into than his prime project and that Saafi Brothers joint. Like, the Ambient Dub compilation (no, not those ones ...Or those other ones). It featured his production on nearly half the tracks. What about Banned-X and Dublocation and such? Just how far deep into the Gabriel rabbit-hole can one go? And how much effort will it take doing so? A little, I wager, but the good news is artists are making things much easier by uploading their back catalogue to Bandcamp. Ooh, I spy a couple Dub_Connected selections there. The track Dublicity got itself an Ace Track honour back on Ambient Dub. Seems an easy choice to start on, then.

And by Ongoing Alphabetical Decree, I'm covering Vol. 1 – Mind The Gab! first. Hey, it's got Dublicity on it as well! Good to know I'm not going into this one utterly blind, then. That said, I can't tell if this is an album or a compilation. Like, I'd assume an album, since most of the tracks seem specific to this release, but Lord Discogs says this is a compilation, and the Lord knows all. Far as I can tell, this was a side project Mr. Le Mar had as The Gab! working with an assortment of other producers. I guess that can make this a compilation, but I dunno'. That would be like saying every album from The Orb is a compilation, what with the rotating cast of artists working with Alex Patterson.

Anyhow, Mind the Gab! kicks off with a collaboration with Ronda Ray called Martha. Oh man, I wonder if Mr. Mastichidis has any idea how much cultural cache that name has these days! Regardless, it's a suitably groovy, dubby little number, closer to the realms of acid jazz really. A 'Dubbed' version closes things out, though it's more like a 'stripped' version. Interesting that Gab' was doing such remixes even this early on.

From there, we get the crunchy techno dub of Dublicity and High Moon with 10Cars. The Rootsman pairings find the two going more tribal techno. Plug-A-Dub with Carson Plug gets minimalist in its dub, while 13 Monde (whom Lord Discogs knows nothing about) coerces the bangier, ravier side of techno dub from Mr. Le Lar with the tracks Drop Worlds and Mental Chant. And finally Jack “No, not that one, obviously” Black provides Gab! with a simple dubby groover in At The End Of The Century.

So a decent collection of techno dub, all said. It won't light your world on fire, but it's fun while it plays. In the end, I'm just glad Gabriel made this available on Bandcamp, as I'd hate to have broken the bank paying huge Collector's Market sums of cash for this. Say, how much is the original CD going for now? *checks*. Huh. That cheap, eh. Well, I'm sure Mr. Dub_Connected appreciates my direct financial compensation.

Thursday, February 2, 2023

Various - Serenity Dub 2.1 p.m.

Incoming!: 1995

Even for short-lived '90s ambient dub and techno labels, Incoming! feels among the most short-lived of them all. I mean, probably not, in that it had a three year run with a few home-grown acts sustaining it in that time. I even crossed paths with the print once, via S.E.T.I.'s The Geometry Of Night, as fine an example of the darker, more paranoid side of downtempo dub as I'd ever heard from that era. That seemed a chance encounter though, so who knows if I'd have stumbled upon any other Incoming! releases in those years, much less be as drawn to cover art. Maybe that Golden Star CD from Nonplace Urban Field? Or the warped speakers from the compilation Submerged – A Collection Of Blooming Breaks + Bulging Beats - that looks a little familiar.

Regardless, as is tradition with many labels starting out, a compilation or two showcasing their musical manifesto doesn't hurt, and Incoming! did the deed with a pair titled Serenity Dub. I got the second one because, well, I knew more names on it than the first. Names like Rapoon, Biosphere, S.E.T.I., Loop Guru, Scanner, and Mouse On Mars.

Those first four, I already had their tracks, though you can't blame me for not recognizing them as such. Like, I find Rapoon's Vernal Crossing a captivating listening experience, even gave Bol Baya Ace Track honours, but that still don't mean I can I.D. the piece blind. As for Biosphere, Botanical Dimensions kinda' gets overshadowed by Novelty Waves as the highlight off Patashnik. Same can be said for Loop Guru's Tchengo as heard of Duniya. That's all the familiar tunes though. Let's hear what fresh dub music I get to experience for the first time on Serenity Dub 2.1 p.m.

The CD opens with Transonic's Low Space Monitor. Hm, I know that name, but from where...? *THAT bass tone emerges* Oh, it's another Bill Laswell joint. Of course it is. Actually, a pairing with Robert Musso, where the two dropped a few albums over on Fax+. Interesting get for Incoming!, but their world beat vibe does fit. The dub business carries over onto Nemesis Dub System's Caravan (In Dub), a rather dated instrumental, even for '95.

Further along, Scanner does another of his noir-ish downtempo tunes as radio chatter chatters about, while the always interesting Mouse On Mars gets in on some early sound experiments with a minimalist dub throb. Their Chagrin grows very chill over time with relaxing layers of reverb and echo – serenity indeed. Following that, Cosa Nostra almost goes pure space noir on This Thing Of Ours, with ultra-dreamy pads and trumpet playing. Damn, now I want to watch some Cowboy Bepop.

Rounding out the rest are Seefeel and Unitone Hifi with some dubby jams (weirdo shoegaze-reggae and world beat, respectively), and you have about as well-rounded a collection of '90s underground dub music as you could hope for. Well, if you're starting a label promoting the stuff, at least.

Tuesday, August 2, 2022

KMFDM - In Dub

Metropolis: 2020

Industrial rock and reggae dub hand in hand? It's not as daft an idea as first glance suggests. Both have roots in the realm of studio sonic experimentation, and several artists have paid nods and tributes to the other scene's taste-makers. There's even been ample examples of the two merging with winning results, Kevin Martin's The Bug probably the most obvious example, at least where this blog's concerned.

And while KMFDM made their mark in the '90s with a brand of EBM they self-described as Ultra Heavy Beat, Sascha K. wormed elements of dub in sporadic works as early as the 1989 album UAIOE. Clearly that fell by the wayside as thrashy guitars and aggro techno came to dominate the KMFDM sound, but it's never left his muse. All he needed was an opportunity to fully explore it. Eh, some global thing has made touring impossible for a while? That'll do.

Thus unlike many other 'in dub' albums out there, KMFDM's In Dub was produced completely in house, Sascha manning the console himself. While it would have been interesting to hear some radically different takes on KMFDM tunes from some of dub music's prominent producers (ooh, a Bug rub on Anarchy would hit just right, I wager), Mr. K. handles himself well enough. He's got all the standard tropes of reggae down pat – the heavy reverb on languid drums, the wobby-bobby basslines, the trumpet fills, the organ fills... and not much else, to be honest. Sure, he works in his shouty vocals, Lucia's singing, and chopped-up guitar action as featured in the original tunes he's bigging the dub up on, but doesn't push the envelope further than that. I mean, a full-on reggae dub version of KMFDM songs is plenty 'nuff envelope pushing where this band's concerned.

Alright then, which tracks are getting the In Dub treatment then? Some good ol' classics like Juke Joint Jezebel, Power, Glory, Terror, Apathy, Megalomanical? Ah, we kick off with Angst's kick-off, Light. Hmm, don't recognize Superhero, Uranus or Bumaye, but here's A Drug Against War, also from Angst. Then... uh huh... uh huh... huh. I don't recognize anything else at all. I know I've barely scratched the surface of the totality of KMFDM's catalogue, but surely more would have been included from the agreed-upon 'golden era'. What gives?

But yes, aside from the two Angst tracks, everything given a redubbing on In Dub comes from the band's post-2000 era, after En Esch and Günter Schulz had left. Despite some dozen albums being released, I'm wholly unfamiliar with this phase, and I'm not entirely sure I'm inclined to explore it much.

Which doesn't mean I don't enjoy In Dub for what it is. In fact, maybe I like it a little more, convincing myself these are mostly wholly new creations intended for this release? Mm, nah, I'm not so naive. It's a fun diversion, though you definitely need to be on that reggae dub vibe to get much out of it.

Sunday, January 16, 2022

Bob Marley - Chant Down Babylon

Island Def Jam Music Group: 1999

Posthumous albums from an artist's archives certainly were nothing new, but as Bob Marley's passing was almost two decades old by this point, I'm sure everything from his catalogue had been thoroughly unearthed. Heck, even the Remix Album had been done (thanks, Bill Laswell!), so what other avenue could be explored in further capitalizing on Marley's music? Like, it's such a shame he died so long ago, before he might have had a chance to collaborate with artists inspired by his words and works. If only we had the will, the ability, the technology, to make such a thing possible. Sadly, time travelling and necromancy remain elusive. Eh, there's another way, with studio recordings? What sorcery is this?

I can't remember if this was much of a thing yet – the 'duet' albums featuring 2Pac and Biggie certainly hadn't hit the market yet – but nor do I want to claim this was the first. I also can't recall if there was any controversy surrounding this, if cries of 'desecrating the dead' or whatever floated about. For sure those responsible for producing Chant Down Babylon did so with the Marley estate's blessing, sons Stephen and Damian on hand in the studio. While they may not have as big a profile as brother Ziggy, they still remain a prominent fixture in the reggae family's legacy. The project was in good hands, in other words, no scummy cash-grab vibes going on.

Intentions were positive then, but might the merging of classic reggae singing and (then) modern hip-hop still not work, Bob's voice merely tacked on while others got the spotlight? Considering I still have this CD, and quite often play it when I'm in the mood for some smooth Marely jams with a hip-hop edge, I'd say Chant Down Babylon pulled it off quite well indeed. Yeah, it's still mighty difficult ignoring the critical part of your brain reminding you that Bob isn't really singing in the studio with the likes of Eryakah Badu and Lauryn Hill, but boy they sure sound good together regardless.

Honestly, the only times things sound a little forced is when there's a rap involved. Marley will come in, singing a classic like Concrete Jungle or Survival with some beefier beats, then suddenly, here's Rakim or Chuck D dropping a few bars in support. It's not a deal breaker or anything, and some of these pairings are damn good (MC Lyte on Jammin'; Krayzie Bone on Rebel Music, though undoubtedly helped by his sing-rap style). Others though, don't work quite as well. Busta Rhymes in particular sounds strangely out of place, and having Aerosmith leads Steven Tyler and Joe Perry on this project is a real head-scratcher.

In the end though, Chant Down Babylon remains Bob Marley's show. Hearing him crooning along side Guru or The Roots on strong reggae-hop beats is just a tasty treat. Stick with the originals if you must, but this record is a worthy companion piece to his legacy.

Wednesday, September 29, 2021

Tom Tom Club - Tom Tom Club

Sire/Island Records: 1981/2009

I have to assume everyone reading this blog knows the story of Tom Tom Club by now. How the rhythm section of Talking Heads were encouraged to make a record of their own while the band was on hiatus, and instead of pulling a Peter Criss, they debuted with one of the funkiest disco reggae-dub records of the era. One that's endured to this day, with hit singles sampled in perpetuity.

Yes, everyone knows that story. Or so I thought, until just the other day. I mean, the timing of the following anecdote couldn't be more perfect, so I must share it.

I was playing Tom Tom Club's album at work, mentally making notes for whatever angle I might come up with for this review. Genius Of Love comes on, and as that extended groove at the end plays out, one of our younger staff strolls by and mentions, “Oh, hey, Mark Morrison's Return Of The Mack.”

Now, I know he's mentioning this to me as a way of showing off his music knowledge, that someone his age would be familiar with hits of the '90s or something. And I smile, because I'm about to blow his mind.

“Oh, no, this is the original version of that beat.”

“There's an original?”

“Oh yeah, it's been sampled lots. Originally came out in 1981.”

“Nineteen eighty-one!?”

“Nineteen eighty-one.”

“...geez, nineteen eighty-one...”

That, my friends, just goes to show how timeless this record is. Sure, you could quip some of the rapping in Wordy Rappinghood comes off corny, or Booming And Zooming is too weird to be any good, and lord knows this deluxe re-issue didn't need all those pointless remixes added. Damn though, Genius Of Love's irresistible beat. The peppy L'Elephant. The dreamy Lorelei (always loved that name). The charming cover of Under The Boardwalk. Plus an entire bonus disc holding the rarer follow-up Close To The Bone? How can anyone not vibe on this release?

Okay, maybe that last one isn't as great. I mean, it's nice to have it included at all, this 2009 release the first time appearing on CD, and Pleasure Of Love is a worthy single. Unfortunately, I can hear why Tina and Chris weren't as pleased with the album. After the serendipitous recording sessions of their debut (not to mention the fun Bahamas trip included with it), they hoped to repeat the experience in their follow-up. Unfortunately, things failed to click a second time (political revolutions outside the studio didn't help), the resulting album sounding stiffer and forced compared to its predecessor. Measure Up at least recaptures some of the original's magic, and The Man With The 4-Way Hip comes close, if not for the incessantly repetitive lyrics.

Whatever, it's the self-titled debut that remains the star attraction. If you still haven't heard it (*cough* younger generation *cough*), get on it and hear the roots of many a hit rap and R'n'B single.

Saturday, May 29, 2021

Tom Tom Club - The Good The Bad And The Funky

Rykodisc: 2000

Tom Tom Club, then. A band that succeeded in spite of factors pointing to, at best, a quirky footnote in the Talking Heads tale. Succeed they did though, where to this day (well, pre-COVID at least), Tina Weymouth and Chris Frantz continued to tour, well into their '60s. Wait, an aging legacy band, with summery music influenced by the Caribbean? Are we sure we're not dealing with a Jimmy Buffet project?

Oh hell, no! How dare I even imply such a connection. Tom Tom Club are forever funky purveyors of Jamaican jam, New York City groove, and disco soul, whereas Jimmy Buffet is... all the opposite of that. Someone just screamed, probably.

I'll get into details regarding Tom Tom Club's creation and influence when I cover their self-titled debut, so let's fast-forward nearly two decades from there, all the way into The Year 2000. Tina and Chris mostly kept the Tom Tom band around as something to do whenever David Byrne would go gallivanting his solo career, which was quite often as the years went on. Eventually David officially disbanded Talking Heads, and though the remaining band members tried carrying on as The Heads, it failed in capturing the same energy without their eccentric lead singer on hand. So, back to Tom Tom Club Tina and Chris went, with a tour that turned out remarkably well after the disappointing Heads experiment. They were so energized by this tour that they hit the studio again, The Good The Bad And The Funky the result. It would be their last album of original material.

Heh, no, it didn't deep-six their careers or anything like that – again, continual tours. I think, however, they simply felt there was nothing left to prove, a legacy intact, a back-catalogue that more than justified itself without needing more added. Not to mention the unfortunate 2001 death of singer Charles Pettigrew, whom been added as an official member of Tom Tom Club during this time, likely left a sombre after-effect on the project.

*whew* That's a mouthful, but how's the music on tGtBatF? It's certainly good, nothing really bad, and definitely funky. Reggae dub and ska generally dominates throughout, with a couple nods to disco and soul in songs like Who Feelin' It, Holy Water, and Let There Be Love. It's all well produced with touches of quirk keeping things on a carefree vibe. Something keeps nagging me though, wondering who exactly this music is for. Tom Tom Club fans obviously, but was there any intent of reaching beyond that audience? There isn't much here that would lure a newer audience, no matter how many wicki-wicki scratches or funky dubs they throw in.

Except for instrumental Lesbians By The Lake. I almost did a double-take, thinking it some long-lost Gorillaz g-side. Which may not be too far from the truth, as Dan The Automator provided a rub on Happiness Can't Buy Money. Returning the favour, Tina sang backing vocals on 19-2000. It's a small world after all.

Sunday, February 21, 2021

Ott - Blumenkraft

Twisted Records/Ottsonic Music: 2003/2012

I've mentioned before how this album was a no-brainer as a pick-up. A psy-dub debut album from one of the major players and formulators of that genre? How could this be anything less than great? Oh, there's ways, but fortunately for us, Blumenkraft doesn't go down that road. Really, its only sin is that it came out when the genre was still relatively young, and hadn't showed us its full potential yet. Yes, I'm legitimately calling Ott's debut rather basic, but only because his follow-up Skylon was such a massive leap forward in his songcraft abilities.

Make no mistake, Blumenkraft is still a solidly produced album, possibly among the best psy—leaning items released that year that didn't carry an Ultimae tag. There's much heavier focus on reggae-dub rhythms and world beat tropes though, more than newcomers to the Ott discography may expect. That's not really a fault, just a matter of fact when it comes to this music at the time. All was in transition, the Shpongle influences on the verge of spawning off copy-cats that would follow in the ensuing decade, but not so much that it was unmistakably everywhere. Yet, given his prominent role in many of Simon Posford's projects to this point, you'd understandably think an Ott album would be just as culpable of this too.

Perhaps that's why Blumenkraft is so rhythm-heavy, with less of the wordly sounds and psychedelic samples as found in Ott's earlier collaborative projects. He felt the need to distinguish himself from the Shpongle stuff brimming with instruments and melodies. Or maybe it just seems that way in hindsight, what with his future albums brimming with instruments and melodies as well. This isn't to say Blemenkraft lacks in such things, they just aren't so prominent. Whenever some organ, flute, or melodica solo joins in the fun, they don't leap out from the mixdown, the jaunty drums or frenetic jembe action with trippy effects stealing the spotlight.

Really, the few times Blumenkraft sounds like the future Ott is when he gets some vocal action going. At nearly thirteen minutes in length, opener Jack's Cheese And Bread Snack has plenty of time to indulge spoken word passages with chants and sitars, but third track Splitting An Atom really gets in on that bouncy bhangra beat. It's just a shame we don't get any more of that until final track Smoked Glass And Chrome, a wonderfully opulent tune with a blinder of a vocal that could fit snugly in any portion of Skylon. It almost puts the rest of Blumenkraft to shame, leaving me wondering why the rest of the record couldn't have been to this standard?

I get building to a big crescendo and all, but surely something just as brash and bold lodged mid-album would have truly sent Ott's debut into classic status. Instead, Blumenkraft is simply remembered fondly for its time, a strong opening statement from a producer who would go onto bigger and better things down the road.

Friday, September 4, 2020

Congo Natty - Jungle Revolution In Dub

Big Dada Recordings: 2015

I'd like to say I got this because I've been a long-time follower of Mikail Tafari, since even his Rebel MC days. I can't front though, this being the first I've really heard anything from the Congo Natty legacy. At least, in a deliberate manner. I've likely heard some music of his over the years. A Blackstar track here, a Tribe Of Issachar cut there, a Lion Of Judah slice elsewhere. Still, I didn't get this particular album because I decided it time to do some proper look-backs on another seminal artist. Nay, I saw the words “In Dub” as a title, a Rastafarian man on the cover, and figured I was in super-safe hands hearing some proper raggae dub t'ings.

And I was right! It just wasn't in such a manner I would have expected. Heck, I never expected spotting such a release on Ninja Tune's web-store in the first place. Yeah, they've gone dancehall dubby in the past (oh hi, The Bug), but it's not their lane. Just as well, then, that this came out on offshoot Big Dada Recordings, most famous for bringing Roots Manuva to the light. I honestly haven't followed them as much – figured they were mostly a grime label, given the pedigree – but even then, hearing a ragga jungle album on there seems a tad askew. Not an “In Dub” rub of said album though!

They go all out for this record too. Lee Perry is here! Scientist is here! Mala is here! All come in to offer brief audio snippits of respect for The Music. No, really, that's all they offer here. Meanwhile, a pile of artists I'm wholly unfamiliar with do the actual remixing. I'm sure if I delved deep into the real world of dub music (or even the white-bread realm of retro dubstep), these would be recognizable names, but there's only so many seconds in the year, my friends.

Occasionally, the original jungle roots are heard in this album. Adrian Sherwood's remix of UK Allstars teases out tear-out before settling back into the easy-going rhythms of reggae dub, while Hylu and Jago do more of a stop-start thing with their go on Jungle Is I And I. For the most part though, we're in that classic, impossible-to-ruin vibe of tunes on the downbeat, the accents going on about Babylon, and the reverb in outer space.

So sounds good if you like reggae dub, but what about that other dub that has equal amounts of detractors. Yeah, there's some dubsteppy elements sprinkled about. Those dreaded mid-range wobbles appear in Young Warrior's go with London Dungeons, while DJ Madd really loves that ultra-hard STEP rhythm. Elsewhere, Mungos Hi-Fi turns in a quite drab, empty, ol' school dubstep thingy on Nu Beginingz. None of it's obnoxious though, which is the most you can hope for with these sort of sounds. Makes me all the more want to hear the album proper. A good record, for another time.

Monday, February 10, 2020

Various - Balance 015: Will Saul

EQ Recordings: 2009

Won't deny, I had low thoughts about this one when I first saw it advertised a decade ago. I generally liked the Balance series to that point, but Joris Voorn's contribution had me wondering whether things were taking a turn for the over-indulgent, hipster-baiting path. Glancing at the tracklist didn't allay my suspicions either, what with inclusions from Ricardo Villalobos' Minimoonstar, Hercules & Love Affair, Seth 'he so crazy!' Troxler, and that new-fangled 'dubstep' the kids wouldn't shut up about, b'gar. Throw in a cover shot that has Mr. Saul looking like he's posing for Craft Beers Monthly (“This Issue, The 20 Best New IPAs From Mercer Island You MUST Try!”), and yeah, my totally sad first impression wasn't good.

But Will Saul's 3CD set for Balance is good. Real damn good. Ignore what Late 2009 Sykonee thinks. He was getting disillusioned about things anyway.

Besides, my ignorant thoughts were mostly due to ignorance of who Will Saul is. I assume he's a fairly big deal in the UK, though I hadn't heard of him before, and haven't heard much of him since. Has a couple labels behind his belt. Recently released his second album. Look, I've limited word count here, and I'd rather spend it discussing these CDs over Mr. Saul's biography.

And what a lovely assortment of CDs we have here. We're deep in Balance's 'No Genres Off Limits!' era, and with three discs to indulge himself, Will indulges himself indeed. Instead of making each CD strict genre exercises though, Mr. Saul works a general theme while dedicating significant chunks of his sets to specific styles. CD1 gets in on that deep house and space disco vibe, with a tasty acid and Chicago closer. CD2 is the more (then) conventional set of the three, sticking to trendy, minimalist tech-house before taking a slight detour into Detroit's back alleys. Then, in a total tonal shift, Will finishes the set out with future garage (still called 'dubstep' back then). Yeah, that's probably just as trendy, but I like this stuff, so it coo'.

Opening CD3 with reggae dub though? Oh... oh my! Who in the history of Balance has done that? Okay, Jimmy Van M, kinda', but that was just one song, whereas Will spends eight. Some of it is modern 'reggae dub', sure (re: dubstep that actually honours its Jamaican roots), but as found elsewhere across Balance 015, he mixes these (then) contemporary styles with vintage stuff quite nicely. Things move on from there into funk and soul (old and new, including Wolf + Lamb), plus garage and house, with mostly (then) new stuff trying to sound like way old stuff. The retro was in full swing by the late '00s, absolutely.

So yeah, I quite like Will Saul's CD3 here, and even enjoy CD1 despite not having quite as much to say about it. CD2 feels quite of its time though, but is fine for what it offers. Plus, very little of Minimoonstar was used. I LOL'd.

Tuesday, July 2, 2019

The Orb - No Sounds Are Out Of Bounds

Cooking Vinyl: 2018

Yay, it's a Youth orientated Orb album! Those are always my ...favourite? Wait, am I certain of that? If I had to make a definitive ranking of Orb albums, I'd put records like U.F.Orb, Orbus Terrum, and Orblivion above The Dream. Yet Martin Glover has been involved in some of my all-time ace Orb tunes like Little Fluffy Clouds and Perpetual Dawn (among other, less known works). He's, like, the steady dub rudder of the group, always dragging The Orb back from too much weird experimentation, or monotonous techno expeditions, or over-hyped superstar pairings. I get why some folks think less of the Youth productions, what with them not being as 'serious' as other releases, but when have The Orb ever been regarded as a Very Serious outfit? The cheeky stoner vibe has always been part of the group's charm, and I've long enjoyed them more when they indulge themselves while providing an ear-wormy hook.

Still, even I must have my limits in how far this three decade old (!!) outfit tries appealling to an ever expanding collection of punters. I wouldn't blame old-heads in the slightest in writing off No Sounds Are Out Of Bounds based on the first couple minutes, opening track The End Of the End getting in on wub-wubs and trap hits (also: that hook sure reminds me of Dido's bit from Eminem's Stan). Never mind the fact the track settles into a more traditional dub reggae ditty by the end, it don't take much to turn folks away if they'd rather be hearing something else. And gosh, all those air-horns in Wolfbane? Who do The Orb think the are, Gen-Z YouTubers?

Okay, I think that's cleared out the naysayers for this album. Here's what you get if you're willing to hear all these sounds The Orb deems no longer out of bounds. The first half feels the Youth influences the most, plenty o' peppy reggae dub vibes and soulful world beat. Past Wolfbane though, things take a turn for the deep and downtempo. It kinda' comes off like a continuation of Chill Out, World, and no sounds are certainly out of bounds (Harmonica! Trumpet! Orchestras! Roger Eno piano! Jah Wobble bass! Thomas Fehlmann 'techno'!). It's also rather meandering though, and a stark contrast to the punctual pop overtones in the first half of the album.

Really, it all feels like appetizers before the fifteen-minute closer, Soul Planet. Plenty of calm ambient lead-in, settling into a jaunty soul-house groove with Andy Caine on the croon, and a dubby, trippy, minimalist outro session of all those non-bound sounds. Can I call Ultraworld-era Orb retro now? Because this sounds retro Orb, another shocker considering how blatant a trend-wagon jump the start of this album had. As mentioned though, that's always been the best part of Youth's collaborations with The Orb. He'll hit you with music unabashedly ready for the radio, but still takes you to those blissy downtimes that's kept a dedicated following of this conglomerate for so long.

Tuesday, January 15, 2019

Various - Ambient Dub: Futuristic Techno Dub & Electronic Roots

Millennium Records: 2000

I first saw this advertised among a pile of promo flyers we'd get in the little music shop I worked at, and I couldn't believe my eyes that it was real. An honest-to-Jah ambient dub compilation in the year 2000, half a decade past the micro-genre's peak of prominence? For sure a couple acts were keeping that fire burning (s'up, Sounds From The Ground), but as the Kruder & Dorfmeister style had overtaken the downtempo scene, the O.G. works from Beyond had been relegated to the annals of electronic music history; this is, what, the seventeenth time I've written this blurb?

Anyhow, without knowing anything about any of the names listed on the promo spiel, I ordered a copy for myself because what else was I supposed to do? I thought ambient dub was long gone, but here was a label promising a return of the stuff, even being so bold as to include the genre in blazing big font. Never mind the cover art looked a tad dodgy and this could all be some false advertising. If there was to be a proper revival of the sound that opened my ears to all manner of wonderful sonics, you had to support any and all attempts at it, amirite? No, I ain't right, but such was my logic at the time.

So the CD comes in, and I immediately throw it on to hear what 'Year 2000 ambient dub' is all about and the first song has some Jamaican roots loops and a mild techno beat and is kinda' dub but in no way ambient. Thus, my fear had been confirmed, Ambient Dub nothing more than a tacky marketing gimmick. How could any label get away with such a blatantly misleading compilation title, promising ambient dub and providing no ambient at all? Who is the label anyway? Oh, Millennium Records, they of the UK Space Techno series. That explains that.

So I was disappointed my new Ambient Dub CD didn't have ambient dub on it. Then I actually sat down and listened to the darn thing and I realized something: there's some gosh-darned dope dub techno on this compilation! That opening track, for instance, comes care of The Rootsman, and is a chipper slice of roots techno in its own right. The next track comes care of Saafi Brothers, who I didn't know at the time, but are highly regarded within the psy-dub scene. They include Gabriel Le Mar, who appears thrice more on this CD, once under his own name (with groovy April My Dear, almost treading into prog-psy's territory), again as Dub_Connected (crunchy dub techno dopeness), plus as part of Banned X, their That's Dub a surprisingly brisk outing of trippy dub techno.

The rest of Ambient Dub (sans ambient) pretty much flits between dub techno and roots techno, and despite a couple weird moments (Outernational's Cape East predicts brostep belches a decade early!), is a solid assortment of the stuff. Clearly though, Millennium Records couldn't have called it Techno Roots-N-Dub or something more accurate.

Thursday, February 22, 2018

Cottonbelly - X Amounts Of Niceness (NYC Sessions 1993-2004)

Wrong Records: 2004

Way, way, way back in the early days of TranceCritic, I'd post lists of albums I'd bought with intention to review, updating it with each purchase. Figured it was a handy way of letting our scant readership know what to expect, when I'd average around one review every two weeks (such work ethic). I usually met my quota, but one item I listed continuously popped up on those lists that never materialized was this particular collection of tunes produced by Cottonbelly. I simply had no clue how to approach it. While by no means the most obscure thing I'd have thrown up on the fledgling website, I still had scant information to work with. There wasn't much in the way of liner notes to help, Lord Discogs was still in its early stages of utility, and I was too lazy to search the wider web for whatever knowledge nuggets might be floating out there. Besides, who reading a 'trance' website would care about a dubby, jazzy, world-fusion, downtempo guy? Okay, a second one – Bill Laswell was already pushing it.

But finally, Mr. Cottonbelly's time to shine has come at last, even if only at the tail end of a years-long, insane project I've inflicted upon myself. And fortunately, there's more Discogian Data at my disposal than ever before! Not that there's much there anyway, X Amount Of Niceness the only long-player to his credit. Truthfully, he was more known as a remixer, of which many of his works are collected here. The first tune I ever heard from Cottonbelly was, in fact, a remix of Noiseshaper's The Only Redeemer, plus that nifty Tempest Dub tune that appeared on Quango Records' Dub Selector compilation. Surprisingly, that cut doesn't appear on here, though one of his earliest works do, in Edge Test 1 from 1993. That came out on Edge Records, a label established by Gordon Matthewman. Hm, Cottonbelly's real name is Stuart Matthewman. Might these be brothers? If so, that was awfully nice of Gordon to give Stuart a break like that. I wonder what other credits Stuart Matthewman has. *dives down the Discogs hole* Oh! Oh my...!

Turns out Mr. Matthewman is a member of Sade, the British soul-jazz group with huge hits throughout the '80s. They went on hiatus after 1992's Love Deluxe, so Stuart pursued his own musical interests as Cottonbelly throughout the '90s. This included doing remixes for Gregory Isaacs (Night Nurse), The Ananda Project (I Hear You Dreaming), Maxwell (Luxery), and Cirque Du Soleil (Africa ...no, really!). In the meanwhile, he carried on making his own brand of dubby reggae jams, comfortably rubbing shoulders with the likes of Kruder, Dorfmiester and Thievery Corporation.

All his works are definitely of a 'niceness' quality, and he probably could have maintained a tidy solo career in the downtempo scene to this day. However, when Sade reconvened in the new millennium, it effectively put an end to the Cottonbelly era of Mr. Matthewman's discography. Too busy touring, I guess.

Thursday, January 4, 2018

Ras Command - Serious Smokers (The Best Of Ras Command)

Waveform Records: 2000

Ambient dub may have been the foundation Waveform built their early success on, but that don't mean they had no love for the roots of dub music either. I'm talking that righteous irie rude-b'woy Jamaican reggae, mon'. After Phase 1 of the label's existence came to a close (re: had finally tapped out of material exported from Beyond), they were mostly left wandering about in search of their next course of action. For a time, it looked as though they would explore the separate facets of ambient and dub, first with Slumberland, then with Earthjuice. And boy, did Waveform figure Earthjuice was gonna' be a thing, proudly stamping a Volume 1 on it, and flooding the stores with copies. Every time I went on Big City Sojourns to take new musiks back with me to the Canadian Hinterlands, there was Earthjuice, its tropical trees in a rasta-man frame staring back at me. Can't say I was terribly intrigued by it though, my ears demanding the unexpected and unheard - Jamaican dub music isn't known for its diversity.

One individual from that compilation that Waveform seemed keen on was Alex Buchal (aka: Ras Command; aka: Cee-Mix; aka: Kong Fu; aka: L-X; aka: Third Coming; aka: Q-Clones). A German by stock and trade, he mostly peddled in dub music, though dabbled in the realms of d'n'b too, releasing some four albums and a dozen singles across his aliases. He was also suffering from cancer, and passed on early 2000. A couple months after, this 'best of' collection emerged from Waveform. I'm not sure whether the label and Alex were already in the works for such a release, or it was put together after the fact as a tribute - some liner notes regarding this matter would have been helpful.

As for the music, it's about as you'd expect of a reggae dub outing. The sounds are sparse, letting all those echo, reverb, delay, phase, and flange effects on the pianos, melodica, and rhythms breathe and exhale to their heart's content. And they take a heaping toke with every splash of snare, believe you me. Plus, that bass! There's some serious sub-frequency action going on here, my friends, low-ends that only the choicest speakers will properly register. Play these tracks on regular ol' computer or laptop outputs, and there's nothing there, absolutely nothing. This is bass for the true believers, not poseurs who think bass is a mid-range noise.

Most of the tracks come from the two Ras Command In Dub albums, some of which get rather brisk in tempo. A couple cuts from his Cee Mix project that skews more trip-hop also appear, as does the exclusive Love Dub (Drum Mix) cut from Earthjuice. That's about all I have to say with Serious Smokers though. Like I said, it's reggae dub, the most predictable style of downtempo out there. Is it ever the most perfect music for ultra-laidback vibes about though.

Thursday, June 29, 2017

Gorillaz - G Sides

EMI Music Canada: 2002

By the point of Demon Days, springing for additional Gorillaz material seemed a no-brainer. Damon Albarn and Jamie Hewlett were so meticulous in expanding the brand's memorabilia and lore that you almost felt left out if you didn't check out every aspect of it. Nowadays, it's easy-pie doing so, most resources readily available online. It's also made doing interactive media all the more challenging for the duo, as among Gorillaz' many manifestos, one of them was to always use cutting edge technology in bringing their virtual band to the masses. It's gotten so technical that they've brought Murdoc and 2-D into our meat-space via remote imaging and cartoon holographic digital-quantum trickery, hackery, puppetry, wizardry, and 23@47~{ry. It's a far cry from their early, simple days, when having CD-ROM bonuses was about the peak of extra content.

I mean, that was one of the selling points of G Sides back when wasn't it? The two music videos included on the CD? It's honestly remarkable they fit two on here in the first place, most CDs only having room for one vid' at best. And while including Clint Eastwood would be rather redundant by 2002 (that got massive rotation on TV the year prior), no one had ever seen the Rock The House video yet. I don't know if that one ever aired, either debuting on G Sides, or as an unlockable on the original Gorillaz website. I barely even remember how that thing operated, only that it was considered state-of-the-art web design way back in 2001, with the original Gorillaz CD acting as a key to bonus features like cartoon shorts and the like. As I had a barely functional piece of junk PC at the time, I never got to explore 'Murdoc's Winnebago', and by the time I did get a computer that could, Gorillaz had already moved onto Phase 2, rendering the site obsolete. Oh well.

Obviously all that content is now easy to find online, meaning the only reason to get G Sides now is for the music. Okay, that was a reason back then too, though you must have been one hardcore fan to spring for this album – or just liked more of Mr. Hewlett's artwork. Gorillaz has evolved into a remarkable institution these days, but fifteen years hence, it was seen as little more than a novelty with a clever marketing campaign and some killer singles. That much of the debut album is filler, however, isn't brought up much anymore, seen as a bunch of genre fusion lacking a concise concept linking it altogether as later albums would. If you're down for more of such genre fusion, plus alternate versions of Clint Eastwood and 19-2000, then G Sides is a fun little bonus to the Phase 1 material. It's even got Noodle doing a couple solo outings with electro-pop Faust and trip-hop Left Hand Suzuki Method, singing in Japanese and all. It's as though she could make a whole Gorillaz album herself or something.

Wednesday, May 3, 2017

Mystica Tribe - Island Oasis

Silent Season: 2017

Of all the dubby releases Silent Season has brought us, I never expected something like this. Dub techno, sure. Ambient dub, absolutely. Even when getting away from music with a steady rhythm, going pure ambient littered with field recordings, there’s a touch of the dub resonance in all those layered timbre and effects. This one though, the debut album from Mystica Tribe titled Island Oasis, is unlike any sort of dub release I’ve heard from Silent Season thus far. Maybe I’d find something similar further back in the label’s catalog – of course I haven’t taken in everything they’ve put out – but this one, my friends, is a first.

And what sort of dub can I be talking about? Yes, what is this unprecedented, ‘brand new and good for you’ style that has gotten my head all double-taking an’ shit? Reggae dub, mang. As in, O.G. ‘70s stylee. The bare-bones production, simplistic melodic instrumentation, with the cavernous snare hits, dungeon-deep bass vibes, and echo effects emanating from the furthest reaches of Zion – all from the Book Of Tubby. Not that it’s surprising to hear throwback reggae dub nearly fifty years since its creation, as the genre’s been remarkably persistent even as new approaches and variations on its core concept continue being explored. It’s like the blues: you can do all manner of strange and different things with it, even taking it down roads that lead it into territory far removed from its original ethos, but there’s still something about returning to that vintage, uncomplicated, twelve-bar/stripped-down sound.

So that Silent Season would throw their hat into the reggae dub pot (tee-hee) is a bit of a surprise, but not totally out of left-field – probably an eventuality anyway. What’s caught me even more off-guard is the chap behind Mystica Tribe, one Taka Noda from Tokyo, Japan. Not that it should be – white folk have been making reggae dub for years now, so why wouldn’t someone from the land of the rising sun get in on that action too? From Jamaica to Britain to Japan, island nations gotta’ represent, yo’. And as Mystica Tribe, Taka’s released about a half-dozen EPs, some on SD Records, a print into techno of the acid n’ dub sort, and more recently with his own print. Those records mostly toed the dub techno line, making Island Oasis all the more surprising as a doe-eyed throwback of dub music (including an analog mixdown!).

As for the music, yeah, it’s a reggae dub album, with little in the way of surprises. The echo, reverb, and delay effects are well placed and suitably spacious, the bass has plenty of beefy resonance for your sub-whoofer needs, and there’s typically a different, though familiar, form of melodica leading in each track: organ, harmonica, piano, xylophone. It’s all stuff I’ve heard plenty times before, though interestingly, when I played it at work, one of my older co-workers remarked how strange and different it was to her. What, she never heard UB40?

Thursday, October 27, 2016

Various - Journeys By DJ: Coldcut - 70 Minutes Of Madness

Music Unites/Journeys By DJ™ LLC: 1995/2002

It’s rare that a DJ mix series is hijacked by a contributor to such a degree, they become solely associated with it. For sure you have game changers, as James Holden and Joris Voorn did with the Balance series. Or some jocks become synonymous with a series due to endless entries into its canon (the forever Nick Warren & Deep Dish show that Global Underground became). Journeys By DJ already had six volumes under its belt by the time Coldcut came along with their seventy minutes of madness, including entries from John Digweed, Paul Oakenfold, DJ Rap, and Danny Rampling. Heck, even Judge Jules beat More and Black to the “30+ Tracks Set” when he put out his mix for the series. Yet these days everyone always assumes Journeys By DJ was a Coldcut one-off, future entries by Gilles Peterson and Jay Chappell even less remarked upon. So impactful was this mix, that it alone received the re-issue treatment in 2002. Oh come on, Billy Nasty’s set wasn’t bad, was it?

Still, you can’t knock the result, 70 Minutes Of Madness easily earning its Classic Status as a DJ mix CD for the ages. They didn’t just rinse out a pile of similar tunes, but studio-mashed tons of disparate sounds, styles, and genres into a megamix of their super-deep crates. Junior Reed hangin’ with Newcleus! Harold Budd pallin’ about with Photek! Plastikman getting funky with Jedi Knights! Air Liquide trippin’ balls with Bob Holroyd! The Dr. Who theme just being all awesome-sauce no matter who’s around it (Red Snapper, The Sabres Of Paradise, and Jimmy Cauty, if you must know). Not to mention a shit-ton of breaks, beats, pieces, scratching, cross-cutting, and acapella action littered throughout. Coldcut were already regarded as masters of the one-n-two, but typically translated their skill into producing DJ tools and sample-heavy songs. This was the first time they got into the studio for a commercial mix CD showcasing their DJ trade – well, second, if you count Tone Tales From Tomorrow a year prior – knocking it out of the park so hard, they practically abandoned this particular market forever after. A shame, as I’d love to hear what another 70 Minutes Of Madness might entail with over two decades worth of gathered new weapons within their coffers.

Possibly the most outrageous thing about this set is how it bucks conventional set construction. The opening salvo including The Truper (Photek), Wagon Christ, and Funki Porcini (with Dillinja on the rub) features some of the most frenetic ragga jungle you’d ever hear in 1995, all within the first ten minutes! You’d think the set could only go down in energy from there, but tons of acid, funk, and breakin’ action maintain an even keel for the most part. Even with sporadic downtime throughout this set, Coldcut never lose the plot, coming back with a new avenue of music to explore. Throw in a final forty seconds of the needle riding out the last record grooves? Yeah, vinyl bliss.

Friday, September 23, 2016

The Groove Corporation - Co-Operation

6 X 6 Records: 1994/1995

Another one of the great “what ifs?” of emergent UK house music, Electribe 101 was primed for crossover triumph. Talented musicians in the studio, a bourgeoning starlet in Billy Ray Martin on vocals, and Tom Watkins as their management (he of Pet Shop Boys’ success) – what could go wrong? After a strong debut album in Electribal Memories, things fell apart, including a Depeche Mode support tour that had fans booing them off stage. So it goes in this business though, and the players went their separate ways, Billy Ray Martin finding fame as a solo artist, and the remnants of Electribe 101 rebranding themselves as the reggae roots loving group Groove Corporation. And because the future G.Corp had a fondness of the dubbier side of that music, they fell in with the trendy ambient dub scene of the early ‘90s – having their studio in that movement’s home of Birmingham didn’t hurt either.

A couple early efforts on Beyond’s seminal Ambient Dub series gave Groove Corporation some underground buzz. They soon signed to the newly formed 6 x 6 Records (they of Sasha & Digweed’s Renaissance fame), their Passion E.P. giving them even greater buzz with the progressive house contingent. Things looked mighty good for the boys of G.Corp when Co-Operation finally dropped in 1994. It’s got the reggae soul, dubby-hop, and just enough crossover appeal for a record out in 1991. Ah, whoops, sorry, guys, but have you heard what Leftfield and Massive Attack were up to around this time? Kinda’ puts your sound a bit out of touch, no matter how classy it all comes off.

Things never get to ‘cod reggae’ levels on this album, but tracks like Showtime, How Did It Come To This, Rain, Twist & Change, and You feel strictly aimed for a little chart action. Can’t believe the UK was too fussed for these sounds anymore, especially from a group initially gaining its critical plaudits well away from the mainstream. Some of their proggy house tunes do make the cut (Roots Controller, Hypnotherapy, Passion), while others get right proper with the reggae dub action (Pray, This Is How I Stay, Ghetto Prayer), so Co-Operation does have a nice blend of both for favored parties of either or.

Still, maybe Groove Corporation suspected they were leaving their ambient dub followers in the dust with an album with such pop leanings, hence a limited edition version including a second CD of such music. This is where G.Corp’s in their element, tunes originating or remixed into dub instrumentals before repurposed with vocals on the Album Prime. Folks liked this bonus disc so much that Groove Corporation re-released it as an independent album with a couple additional tracks a few years after the fact, called Co-Operation Dub. Seems most of the group’s early compilation duty comes from this CD (A Voyage On The Marie-Celeste, Return Of The Skunk Unlimited Orchestra, Ghettoprayer (Deep Blue Dub)). Hm, maybe that’s why I have a bias towards it.

Wednesday, September 14, 2016

Massive Attack - Blue Lines

Virgin: 1991/2012

So Blue Lines, the album that kicked off Tricky’s career. Yeah, sorry for the lame intro, but all the good ones were used in the past two decades. The “Few Records Deserve The ‘Seminal’ Tag, But This One Truly Does” angle; the “Once In A Blue Moon, A New Genre Is Born” take; the “Would Bristol Be Such A Prominent ‘90s Music Hub Without Blue Lines?” thinkpiece; a “If You Listen To Five Man Army Carefully, You Can Hear Subliminal Banksy Messages!” waffle. But man, that Tricky guy, where would he be without Massive Attack? Like, I’m sure he’d have gotten an album or two under his belt regardless, but his work with this group certainly gave him a boost.

Okay, enough malarkey on my part. Let’s talk about this most important record in trip-hop history, despite it barely having any trip-hop in it at all. There’s definitely early aspects of the genre lurking throughout – tracks like Five Man Army, Daydreaming, and One Love feature that slow, hazy mood the genre built its reputation on. This is more a product of Massive Attack incorporating several urban influences into their sound though, which included reggae dub popularized by many a Jamaican expat residing in London. And while Bristol’s music scene was generally their own thing, the dudes behind Massive Attack were more than familiar with what was what in the elsewheres of their country. All that time as part of The Wild Bunch sound system crew provided plenty exposure to various musical movements, leading to the varied genre blending heard throughout Blue Lines. Not just the spliff-heavy hip-hop, but R&B, reggae, funk, and soul find their way inside this tidy nine-tracker of a record, often within the same song. It’s easy to hear why music journalists were creaming their pants over this album, thrilled at hearing so many classy forms of music expertly fused into a groovy whole.

And yet I wonder, was this really that big a deal back in the early ‘90s? Seems every second British album from across the spectrum was doing something radically different in genre fusion. I’ll grant adding dub production to hip-hop beats was unique compared to what America was doing, but this wasn’t exclusive to trip-hop in the slightest: ambient, house, techno, R&B (rock?), all got in on that action too. More often than not, Massive Attack stick to conventional music, sparingly pushing the boundaries into uncharted territory. Be Thankful For What You’ve Got is the sort of UK soul peddled for a few years then. Unfinished Sympathy, the breakout single of the album, has New Jack Swing going for it, though obviously drenched in gospel charm.

Still, if those are about the only nitpicks I can fault Blue Lines for, then this album’s reputation is more than deserved. Considering many ‘dance’ albums from this era are way dated, this one easily stands the test of time, its multitude of influences making it a timeless piece of music.

Sunday, June 19, 2016

Bedouin Soundclash - Sounding A Mosaic

SideOneDummy Records: 2004

Yet another CD of which I knew nothing going in to. With a name of Bedouin Soundclash though, plus song titles like Gyasi Went Home, Music My Rock, Rude Boy Don’t Cry, and Immigrant Workforce, odds were ninety-seven percent I was dealing with reggae music of some form. And with the opening, jaunty refrains of When The Night Feels My Song confirming my assumption, I sat back to vibe on an album of sunny jimmy-jams. Yet as Sounding A Mosaic played out, something felt just a tad off. With a sparse arrangement consisting of little more than bass, guitar, and drums, it was clear Bedouin Soundclash wasn’t a traditional full-ensemble reggae band. More so, there was an undeniable ‘coddiness’ about these tunes. The music, the cadence, and the groove of vintage reggae were all there; but, y’know, kinda’ white at the same time.

Turns out Bedouin Soundclash hails from Kingston… Ontario. At this stage of the band’s career, it consisted of drummer Pat Pengelly, bassist Eon Sinclair, and singer-guitarist Jay Malinowski. Yeah, Malinowski’s about as white a name you can get, so my assumption wasn’t off-base. By no means does this detract from what this band does – plenty of great reggae music’s been made by folks that have little-to-no ancestry from the Isle Of Jamaican. There’s The Police, and… uh… all those dub reggae guys I go on about. And… um… Pst, former college kids who wore dreadlocks, help me out here.

I joke and kid, of course, Bedouin Soundclash having a decent amount of success to their name. Starting out in the ancient times of the year 2001 (look, its ancient now, deal with it), they self released their debut Root Fire to little fanfare. A couple years later they came out with this album, Sounding A Mosaic, which did substantially better, thanks to the strength of lead single When The Night Feels My Song. The tune landed them a Top 5 hit on the Canadian charts, and inexplicably a spot on the UK charts – then again, them British do love ‘em some ‘cod’. This momentum was enough to generate Platinum-level sales for the album in Canada, and while their follow-up album Street Gospels didn’t sell quite a well, it still peaked at number two on our music charts, and good enough for a Top 5 spot on the US Reggae charts. And having now learned of all their success, I feel kind of dumb for never hearing of Bedouin Soundclash before. Did I just not care about reggae a decade ago?

Not particularly, no, especially of this sort. There’s plenty tunes on here that are perfectly fine pieces of three-man reggae, though obviously nothing of the caliber I got from The Police. It’s the sort of music that’s fun to check out at a summer festival, preferably at a 2pm slot when you’re feeling nicely toasted. Aside from a couple remixes at the end though, Sounding A Mosaic is about as conventional as this music gets.

Saturday, May 21, 2016

The Clash - London Calling

Epic: 1979/1999

The only Clash album you’re supposed to have, even if you’re not a fan of The Clash. Am I ever saying that a lot lately, eh? Sure is good thing I’m filling in all these essential blanks in my music collection, lest folks think mine’s not worthy for consideration. Pft, my four-digit numbers is plenty ‘nuff for wide-eye glances, especially following the common question of “Is it all ‘techno’?” Why no, it actually isn’t! Like, there’s some orchestral soundtracks floating about, plus a jazz box-set somewhere in there too. And ooh, look at that shelf dedicated to rock music. Ain’t much ‘techno’ about that stuff, amirite? But yes, I know there are tons of essential classics in the rock pantheon that I’m supposed to have, despite the genre far from my highest digging priority. Why should I need too though, when I have friends consistently offloading their old CDs these days?

As for London Calling, yeah, this is one of the big ones, a game changer in the world of punk rock. The Clash were already critical darlings of the UK scene, but they had quite a bit of competition too, the market quickly flooded with copycats and would-be rebellious ‘yoof’ starting up their own rickety band railing against the powers that be. Hell, even seasoned musicians were getting in on that action, punk soon showcasing a remarkable swath of skill. From the deliberately sloppy Sex Pistols to the crafty song writing of The Police, there was seemingly almost no limit to what you could with the genre. No wonder ‘post-punk’ quickly morphed from this influx of creativity.

The Clash fit comfortably smack in the middle of it all, capably kicking out punk’s lineage of throwback rockabilly and hard rock while pushing the boundaries of genre fusion with ska, reggae, and R&B. They had no problem performing stupid simple tunes like Brand New Cadillac, but were fearless in getting politically charged and topical, showing a sense of maturity in their music mostly devoid in the ramshackle reactionary tropes of most punk. And boy, talk of hubris, showing no fear in delivering the world’s first double-LP punk album. Because ain’t no way they’re leaving those Jamaican nods Rudie Can’t Fail and the Guns Of Brixton out.

Considering punk was a reaction against the double-LP concept prog rock adored, that The Clash went this route for their third album is deliciously cheeky. The fact there’s not a duff cut for the duration of London Calling is amazing, nary a track coming off as pointless or over-indulgent filler. Also consider but two singles were released from these nineteen songs, the titular tune and closer Train In Vain (the second most famous Clash song), the sort of situation that dooms most albums from replay value. Yet I dare you to skip anything from London Calling, just to get to that final track. Doubt you do it, not with so many choice tunes in between. Top ten all time rock albums? Yeah, I buy that.

Things I've Talked About

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