Friday, December 21, 2012

2 Unlimited - Do What's Good For Me (BioMetal - Pt. 1)

Popular Records: 1996

(Click here to read my original TranceCritic review)


“I take it you're Anita.”

“Yes, sir,” she replied, offering a timid hand for a shake. “And you're the pilot, Ray, correct?”

“Sure am, babe,” he said with a wink, scratching his chin.

Babe? “They say you're the best,” Anita said after an awkward pause, withdrawing her hand. “Have you ever flown a ship of this sort before?”

Ray laughed. “Not at all. A few test simulations, but I'm getting thrown into this contraption raw just like you, babe.”

Anita rubbed the back of her head. “It's unfortunate they're forcing us to do this,” she mumbled. “I'm an exo-biologist, not a fighter pilot.”

“Don't worry,” Ray said, placing a reassuring hand on her shoulder. “Just handle those shields and tell me which BioMetals I need to worry about. I'll take care of everything else.”

“Very confident, aren't you,” she giggled.

He scratched his chin again. “Gotta do what's good for me,” he chuckled.

The elevator halted, its doors opening and revealing the starship's docking bay. Nearby, they both could see the HALBRED, a sleek red and white fighter-class vessel being fitted with the latest armaments WASP could provide them. General Wilde, whom gave them private briefings prior, was waiting. “Good to see you're both ready,” he said, turning to the pair.

“Yes Sir!” Ray and Anita replied in unison.

“Do you have any questions before launch?”

“Why the urgency, sir,” Ray asked, in a far less informal tone Anita would have guessed allowed.

General Wilde smiled, as though he'd long been used to Ray's casualness. “Just how familiar are you with the BioMetals, kid?” he asked.

Anita held back a snicker. Kid Ray, she thought with a glance over her co-pilot's youthful but embarrassed face. Seems appropriate.

“Only that they were responsible for the Armageddon, during the last Galactic Alignment, sir.”

“Right,” the general nodded. “With reports of their species in the process of re-multiplying, we have to strike at the heart of their nests before they overrun the galaxy again.”

“If I may, sir,” Anita said, “but why must we attack this moon of UP457 first?”

“The BioMetals only have a small colony here,” he replied. “It's the logical base to attack first.”

“Don't tell me you're afraid of a little atmospheric turbulence, babe,” Ray chortled.

Why's General Wilde tolerating him like this? “No, Kid Ray,” she shot back. “It's hardly a 'little' turbulence. They don't call it 'the twlight zone' for nothing.”

“All the more reason to destroy this nest before it grows too infested with BioMetals to launch another attack,” General Wilde stated, his voice firm and snapping the two back to attention. “We're counting on you two. Dismissed.”

“Yes sir!”

Once the general left, Ray turned to Anita and smirked, “'Kid' Ray?”

“Sorry, I just-”

“No, it’s fine,” he said, smiling. “I kinda like it. Come on, let’s get on board. Fame and glory await us!”

At that, he rushed to the HALBRED, Anita close behind.


(If you're hopelessly lost as to what's going on, click here.)

Thursday, December 20, 2012

Various - DJmixed.com / Keoki

Moonshine Music: 2000

Oh, Keoki, what a wild and wonderful career. The first self-proclaimed superstar DJ, at a time when the very notion of superstar DJs was ludicrous (though there were a number of very famous ones), and all the while giving Moonshine Records a proper face in releasing his DJ mixes, singles, and albums. Whatever faults you can lay on him (and believe me, he had plenty of detractors from the old school), he undoubtedly had a profound effect on the tastes of several young American ravers throughout the 90s. Then Moonshine folded and Keoki was left homeless. He tried to reinvent himself in the electroclash vein with Hypnotic, but that didn't work and hasn't released anything of note since.

This particular mix was probably a sign of things to come, for many reasons. If you're not familiar with DJmixed.com, don't worry, as it didn't last long, coming out during the transitional period between Web 1.0 and Web 2.0. You have to give them credit for an attempt at translating the EDM magazine experience for the internet, but the technology simply couldn't accommodate all the things they wanted. I'm not sure if Keoki was to have a major hand in it, but he, along side Micro and Charles Feelgood were tasked in promoting the site through this series of CDs. Seeing as how nothing of note came of it, DJmixed.com is barely a footnote in Moonshine's history, much less the whole of electronic music.

Not that the music contained on these mixes was bad, just terribly redundant at the turn of the century when DJ mix CDs were multiplying like raver rabbits. Moonshine was one of the stronger American labels promoting such releases, but even they started showing fatigue.

As for Keoki’s mix, it mostly features breaks, much of which is on a progressive tip. Y’know, like The Light’s Expand The Room. Looking back, I’m surprised there wasn’t more Florida breaks on this (Tony Faline’s Mind Over Matter the lone offering), as that was an immensely popular sub-genre at the time, before Adam Freeland and nu-school breaks took over.

There’s also some trance, including Ravelab’s cover of Send Me An Angel, that used to cause whiplash among my partying compatriots. I’d tell the joke, but it involves a lot of knowledge of the party scene of British Columbia’s northwest - yes, there really was a party scene way out there. Short form, it’s got a breakdown that’s so stupidly over the top, it’ll roll your eyes to the back of your neck; yet, it follows with an incredibly catch hook that you can’t resist. Interestingly, Keoki mixes the track at the start of that breakdown. He could create clever mixes on occasion, though this set’s a bit sloppy.

I can’t give this CD much of a recommendation, but if the idea of a DJ mix ending with an epic trance remix of the Skywalker theme doesn’t curdle your blood, give it a try.

Monday, December 17, 2012

Various - DJ-Kicks: Tiga

Studio !K7: 2003

For much of his early career, Tiga remained safely sheltered within his Turbo label. His cover of Sunglasses At Night may have appeared on numerous compilations, and Tom Middleton’s mash-up of it with New Order’s Blue Monday gave it more life than anyone thought possible, but by and large the Montreal native was forever associated with his label. By 2003, however, his star had raised high enough that other labels came calling for his talents. Studio !K7, seemingly in an effort to steer their DJ-Kicks series away from all the broken beat DJs they’d featured in the few years prior, gave Tiga his opportunity to branch out. He wasn’t about to let it go to waste, knocking it out of the park in the slap-dash way only he could make work.

First, I should mention my copy of Tiga’s DJ-Kicks entry lacks Hot In Herre, which is almost unfathomable seeing as how that was his second biggest pre-Sexor hit. I can only assume Studio !K7 released this copy first, Tiga made the single after (including a charming video based on a Czech marionette duo called Spejbl & Hurvinek), then shoehorned it into this mix later. Looking at its placement on other copies, I’m not sure how that would have worked, as it’s lodged amongst several disco punk cuts in the beginning of the mix.

Whatever. Tiga’s mix truly takes off at Soft Cell’s …So, a B-Side to their single What?. It’s enough to get heads turned with an obscure bit of early 80s gold, but following it with the impossibly catchy Sacrifice from Break 3000 (That bassline! Those vocals!), all the while Antonelli Electr.’s Dubby Disco is running underneath them. Chances are you'll barely realize it unless you’re an expert trainspotter. Such DJ tricks aren’t new or revolutionary, but Tiga has a way of riding mixes such that it comes off thrilling, ready to go off the rails at any moment. Or maybe I’m just a Turbo fanboy. Could be, could be.

I’ll make no apologies for enjoying this CD though, as Tiga finds the right blend of kitsch and contemplative throughout. I’ve often found the set drags a little after Codec & Flexor’s Time Has Changed (why weren’t these guys more popular?), but Mr. Sontag hits the sweet spot again with his own haunting Man Hrdina, a rare-ish B-Side to Hot In Herre that was only included as part of the DJ-Kicks singles package. Folks talked plenty about Tiga’s partnership with Jori Hulkkonen, but co-producer Mateo Murphy deserves just as much praise.

And there’s more! Bang Bang Lover, My Biggest Fan, Tiga’s cover of Madame Hollywood (it's like Tom Cruise is singing it!)… Of course, if the whole post-electroclash/disco punk sound of 2003 never appealed to you, then there’s little point in recommending this edition of DJ-Kicks. It very much is a product of its time, but oh what a fun time it was.

Sunday, December 16, 2012

Various - DJ-Kicks: Booka Shade

Studio !K7: 2007

Booka Shade isn’t an act I’ve cared much about, at least not enough to dig into their discography. Heck, when I went to check them out live, I instead spent most of my time in the near-empty second room flailing to jungle (it might have been more to do with the stupid crowding of the main stage though - I like my flail space). That said, their contribution to the long running DJ-Kicks series was incredibly influential to yours truly, being something of an inspiration to take up mixtaping again. Not that ol’ Arno and Walter were the first to ever release a DJ mix that sounded less like a club set and more like a mish-mash of personal favorites - the Back To Mine and Choice series were pretty much dedicated to that concept - but something about this one sparked me in a way no other set did.

Mind, for all I know, the whole DJ-Kicks series has been like that. It’s one that I really ought to check more of, but it’s difficult to peg down exactly what Studio !K7 aims to accomplish with it. Sometimes it seems to be hopping on bandwagons, other times it’s too esoteric for any hope of success. Whatever it is they’re doing though, it somehow works, as it’s outlasted nearly every other DJ mix series born from the mid-90s. Take that, Global Underground!

Booka Shade’s contribution is surprisingly diverse for a duo that made its name on tech-house, at least to anyone who came expecting more Mandarine Girls. The opening stretch of the CD plays more to expectation, with low-key house vibes, but never falling into minimal monotony. The inclusion of Yazoo’s Situation or pieces from John Carpenter’s Escape From New York might have turned heads, but as it fits within the setting of those tracks, it’s nothing to suggest things would go askew later.

Thus, it seems fitting the leap-off into eclecticism would be an Aphex Twin track, from where The Book & Shades dig into their crates. Heaven 17 and Brigitte Bardot are far from obscure, but they diversify this set wonderfully, keeping your attention to see what next oddity they’ll drop. Fortunately, nothing too out there, as it settles back into a cool-groove (the neo-Tokyo vibe of Quarion’s Karasu is lush), but enough to keep guessing. Like, The Streets, in a set like this? Sure, I can dig on those ‘morning after’ melodies. But, erm, I know Carl Craig’s Landcruising is a classic, but it’s never been a DJ friendly track, so don’t try to force it.

Ah, but that’s part of the appeal in mixtapes - the quirky, the unexpected, and the shock when two tracks that shouldn’t go together are, or revealing music you’d never expect from certain names (hello, Richard Hawley). Sometimes it doesn’t work, but when it does, it creates musical moments comparable to the best DJ mix transitions. It’s a methodology anyone who attempts mixtapes should strive for.

Friday, December 14, 2012

Daft Punk - Discovery


Virgin: 2001

Daft Punk's Discovery was quite an event when it first dropped, and continued causing waves in the EDM-osphere for many years after. It's an album that created what's known as 'Whiplash In A Rocking Chair' syndrome. Okay, I made that up just now, but let me explain.

Anticipation for a follow-up to Homework is high, everyone wondering if Daft Punk could make magic again (even if Homework was rather average overall). Lean forward. The whole robot gimmick is introduced, and One More Time is revealed as the lead single, shocking their followers as it's nothing what they expected. Snap back. One More Time wins them over regardless, along with much of Discovery. Snap forward. It’s subsequently overplayed and people get sick of it. Snap back. A quirky anime movie tie-in is revealed. Snap forward. The album Human After All is proclaimed a dud, and folks begin questioning Daft Punk's whole career. Snap back. Alive 2007 and the pyramid tour reminds everyone they actually like Daft Punk, including all their previous albums. Snap Forward.

I guess we're still in the 'leaning in with interest' stage with Discovery, thanks to the fresh influx of EDM fans acquainting themselves with the duo's past accomplishments. For sure it's a classic album though clearly a product of its time. Despite being a game-changer of sorts, paving the next road house music would venture on, familiarity with certain trends occurring in the genre back then would render much of Discovery as old hat.

Like, that whole French filter thing featured on tracks like Aerodynamic and High Life. That wasn't a French invention, but because French guys (or English guys posing as French guys) gained the most success from it, filtered funky disco loops became synonymous with French house. Also, there's a lot of nu-italo on Discovery. Yeah, that sub-genre, the first to properly popularize auto-tune and most known for super hits like Eiffel 65's Blue. Tell me Digital Love wouldn't sound out of place on a Gigi D’Agostino release. And as any detractor of d'ez punks will tell you, this album's loaded with samples from disco's days of yore. Harder Better Faster Stronger? More like Cola Bottle Baby, y'Ogre! ...or something.

It begs the question, then, just why Discovery was the huge hit it was, and continues to charm its way into the ears of listeners to this day. As with their early hits Da Funk and Around The World, when they want to, Daft Punk can find the catchiest of hooks and manipulate them around dance beats to maximum effect with minimal fuss; the punk music mentality. Discovery works better than its album siblings due to earnest song writing and stronger musical flow. The only real dip comes in the second half, with a string of short, melancholic filler; yet I’d take those minor melodic interludes over the endless abrasion that came at the back end of Homework any day.

Thursday, December 13, 2012

Various - Disco Dub House: Mixed By Carl Michaels

Sixeleven Records: 1999

Disco house was king in the late 90s, but for those weary of Yet Another DJ Mix With Olav Basoski On It, they had to dig into the underground for their fix. Enter the realm of dubby filtered house. Mostly a marriage of Chicago and San Francisco deep vibes, it wasn’t so much a celebration of production, but of DJs working their filter knobs within the mix. Shortly after, the French took notice and incorporated the same tricks within the tracks themselves to great commercial success (more on that in the next review!), but for a while sets of this sort was primarily enjoyed by rooftop shufflers.

It certainly strikes the right chord for folks of chic taste. All the vibrant bounce of disco, but held just back so you don’t spill your drink. Disco Dub House is as good of a representation of the sound as any. The label it came out on, Sixeleven Records, was primarily an outlet for Philly-based DJ/Producer Nigel Richards, so it comes as a surprise that there's little label whoring going on with this mix. In fact, it’s loaded with well-worn house anthems of the time. Angel Alanis' Chicago's Revenge, P.J.'s Happy Days, Troy Brown’s Feel Allright, DJ Sneak's All Over My Face... I could go on. If you're a house connoisseur of any level, you should have a number of these tunes already. So, it falls to the DJ to present them in a unique way, and as mentioned, that was one of the charms of the filter knob twirlers.

The DJ tasked with providing us with all these disco dub house vibes is one Carl Michaels. Who? Good question. What do you have for us, Discogs? “Hell if I know, this is the chap's only entry.” Wow, that's... unexpected. Last.fm, what about you? “Nope, nadda, zilch. Not even a picture.” Well damn, even I have a picture on my Last.fm Artist page despite only releasing mixtapes. And like hell I'm gonna Google this further, as there's no doubt dozens of 'Carl Michaels' in Pennsylvania alone. Guess ol' Carl's a mystery here. If he wasn’t a pseudonym, my best guess is he was a buddy of Nigel's, perhaps a Philly club resident; heck, maybe even an employee at Nigel's shop.

Whatever the case, his set's about par for this type of music. He makes ample use of his knobs, sometimes to comical extremes, but nothing that detracts from the whole. I'm sure it’ll seem antique to those bred on Ableton and other laptop mixing programs. Oddly, he ends the set outright before the final track, allowing Taste Experience's Release play in full, like some kind of encore.

If you're already well versed in filtered funk, there's little point in getting this. If not, the CD's an okay primer, but unessential. In the end, Disco Dub House is Yet Another DJ Mix That's A Decent Used-Shop Purchase. Yeah, there's no end to such releases, is there.

Wednesday, December 12, 2012

Pet Shop Boys - Disco 2

EMI Records: 1994

The whole of Pet Shop Boys’ discography seldom struck my fancy, but I cannot deny they’re responsible for some of the all-time greatest synth-pop hooks in existence. So seeing this little CD sitting in a used shop, my interest was certainly drawn - all the wonderful choruses of the Boys, given the remix treatment by some of the best in the early 90s business. “Like who?” asks you. “Like these,” says me. Rollo! Jam & Spoon! Junior Vasquez! David Morales! Farley & Heller! Coconut 1! Wait, who? Oh never mind. This should be good fun, right? Right!? Haha …ha!

The idea for Disco 2 was fine. Euro-dance was at its club culture peak, and the Pet Shop Boys had long enjoyed a comfortable relationship with DJs rinsing out remixes of their hits. It only made sense to try re-capturing the creative spark that made the first Disco album a success. The difference with that one, however, was it was more tightly controlled, with less remixers - not to mention dance music wasn’t quite so diverse in ’86. Even someone with passing familiarity with early 90s dance should realize quite a gulf had emerged between American house and euro trance. The Pet Shop Boys may have tied everything together, but the disparity between all these remixes is wide indeed.

That’s not such a big deal though. Plenty of remix albums are like that, and they’ve never- Wait, this is a DJ set too? Oh my… that can’t be good, can it? Danny Rampling was assigned the thankless task and does what he can with the material provided, but this mix is a mess. Ugly crossfade slams, tracks that abruptly end, and a bizarre arrangement hobble Disco 2’s package.

Most of these cuts were singles from the ‘93 album Very. The house remixes are a fine way to start, with Go West’s rub standing out from the pack. E Smoove, however, practically destroys Liberation, sounding like any ol’ Strictly Rhythm release rather than a Pet Shop Boys single. Vasquez and Jam & Spoon do serviceable remixes of Yesterday, but you’ve heard better from them too.

The only real highlight is Rollo and Rob Dougan’s remix of Absolutely Fabulous, probably intended as the highlight since the silly outfits the Boys wore for the video is featured on Disco 2’s cover. The original was a one-off charity single tied to a British sitcom of the same name, relegating this remix’s appearance here as the only ‘album’ exposure it got. It’s gloriously over-the-top and something of a precursor to the club anthems Rollo would be churning out with Faithless shortly after. I mean, that twitchy hook! It’s… it’s… absolutely fabulous! Perfect ‘reach for the lasers’ material.

Does Absolutely Fabulous make Disco 2 worth the price of admission? Hell no, as it’s horribly botched within the mix, abruptly cut out near the final peak. Get that as a single instead. In fact, get all of these tracks as singles if you can. This CD’s a turkey.

Tuesday, December 11, 2012

Various - Dimensions In Ambience 2

Quango Records: 1997

Ambient never died, but it certainly went through a fallow period during the mid-90s, media attention hopping on the trip-hop bandwagon instead. One of the few prominent labels that continued promoting ambient was Quango, a curious offshoot of the mighty Island Records (they of the coloured CD spine). Mostly releasing the sort of jazzy downtempo you'd associate with Kruder & Dorfmeister, Fila Brazillia, and other assorted 'global groovers', Quango found a comfortable role within American borders, among the earliest US-based electronic labels that could find airplay in coffee shops.

As that overview of the label may hint at, Dimensions In Ambience 2 doesn't feature the sort of noodly ambient most would expect. One of the genre tags at Discogs for this compilation is Modern Classical, and though I wouldn't go that far in describing the music contained as such, some of it wouldn't sound out of place in an art hall.

Mostly though, there's an interesting mix of ambient techno and Balearic influences going on here. The most prominently featured artist on this compilation is David Morley, a major contributor to early R & S Records releases. I've noticed a slight uptick of interest in his collected works recently, so if you're after more material of his, here's a handy place to look. The lovely, spacey Frozen, Ibizan-tinged Calibration, and his remix of Kinetic by Golden Girls (the one-off alias for Paul Hartnoll) are all solid offerings. Oddly, Kinetic is quite chipper compared to the other tracks on Dimensions... 2, almost epic. I wonder if DJ Bruno Guez, the head of Quango and oft-time compiler of these CDs, was shooting for a mid-set peak with Kinetic’s placement. This release certainly has the arrangement of such a mix, including a similar climax with the final track Movements - Part 2 from Pentatonik.

Astute trainspotters may have already noticed something odd about a couple of these tracks. For a compilation released in 1997, there’s some rather old cuts found here. Truth is more than half the material comes from the earlier era of ambient techno, and though it’s a moot point fifteen years on, it wasn’t something in Dimensions... 2’s favor at the time of its release. That year was all about pushing forward (with massive marketing muscle from the majors!), yet here’s a CD with relatively dated material. That’d be fine if it presented itself specifically as a look-back at forgotten gems from Morley, Sun Electric, and The Connected Machine, but I suspect that wasn’t the intent, what with newer material from Morley, John Beltran and PVP.

And while the music is fine for the most part, Dimensions In Ambience 2 is slight in presentation. There aren’t any moments that will floor you in the same way classic ambient techno compilations often do, and the whole package runs less than an hour long. On the other hand, it makes perfect background music, late at night, lying on a couch while sipping hot chocolate in a coffee shop.

Monday, December 10, 2012

Sandoz - Digital Lifeforms: Redux (2012 Update)

The Grey Area: 2004

(Click here to read my original TranceCritic review)

It's time for another edition of Sykonee Beats Himself Up Over An Old Review. Yeah, I self-deprecate mostly for jokes, but this time I'm serious. If there's one review out of all those old crummy ones I truly hate, it was the one written for Sandoz' Digital Lifeforms. Done during that awkward period where I still continued detailing track-by-track, made worse by the literal point-form of the second CD, it’s definitely a slog to read, but that’s not the whole of it. It sometimes comes off like I didn’t know what I was talking about, which was kind of true.

Anyone that spends plenty of time consuming music - of any genre - should acquire a good deal of knowledge about it in the process. So long as you never stop consuming, your knowledge base will continue expanding. I had a firm handle on most aspects of techno back then, yet I’ve learned much more since. It’s that absence of strong, informed facts regarding Richard Kirk’s influences that hurts my eyes the most. Sure, the liner notes were helpful, but I was utterly clueless as to what ‘Malian techno’ really meant.

That may be a moot point anyway. It’s not like I’ve gone and digested the entire musical history of Mali to truly appreciate Digital Lifeforms, as it’s not necessary. Understanding it, though, may have helped provide better insight into what it is about this album that just keeps getting better every time I throw it on.

Or maybe not. It's a feeling, that instinctive response one gets from music that's almost impossible to articulate. On a surface level, many things about Digital Lifeforms seems like it shouldn't work, that the production comes off hopelessly dated. Yet something about it always snags my attention, locking me into infectious grooves and harmonies. It could very well be the Kirk aesthetic, crisp but with grit; deliberate in its simplicity, allowing tracks to ebb and flow on their own merits.

It's why I despise the old review so much. I kinda-sorta touched on that aspect of Sandoz, but felt obligated to stick to 'journalistic writing', mostly ignoring my gut emotion about the music on hand and describe what occurs instead. One is taught not to write 'feeling' in journalism, as it's pure subjectivity. By that token, it's understandable why folks would prefer that format for music reviews, as all too often those trying to write reviews from a personal perspective end up lost in hyperbole and fail to offer anything insightful about the music. The best music writers I've come across capably blend the two extremes, going off on entertaining rants or interesting anecdotes while providing useful information pertinent to the release, all the while letting me, the reader, know exactly how they feel about what they're hearing.

After all, honest emotion is what we expect out of the musicians. Why not also expect the same out of those writing about those musicians' efforts as well?

Saturday, December 8, 2012

DDR - Dig It / Rockin

Stay Up Forever: 2009

Did you know hard London acid techno never died? I sure as hell didn't. Like so much acid techno born of the 90s, I figured it went by the wayside once shranz and minimal took over. Sporadically an isolated instance of the genre would crop up, but nothing to suggest the scene held strong for all these years. Despite the odds, The Geezer, Rowland The Bastard, Chris Liberator, all those Stay Up Forever and Smitten guys (plus multitudes of offshoots) kept going, offering up more and more of their brand of hard, fuck-off acid techno for the true heads. Or something like that.

I only learned about this earlier in the year, when I went on a hunt for all electronic music within the scenes celebrating the Roland TB-303. Along the way I acquired several A-Sides and B-Sides, but never Both-Sides – just saw no reason to when one or the other of an EP would do. So how I ended up with this particular one, I've no idea. I don't want to make a habit of reviewing 12-inches, but whatever. It gives me a chance to talk about London F'n acid techno!

DDR, or Dave Lalouche as he’s known on his passport, is part of that original acid techno posse, often appearing in collaborations but occasionally knocking out a few solo joints too. This being a recent 12”, has there been some evolution in the London acid techno sound?

The A-Side, Dig It, starts off with strong, energetic beats, an occasional vocal sample popping up in the mix. Once the TB-303 comes in, it gets a decent workout for the duration. In all, about what you’d expect for acid techno of any year. The B-Side, Rockin, starts off with strong, energetic beats (though not as strong and energetic as Dig It), an occasional vocal sample popping up in the mix (though more frequently than Dig It). Once the TB-303 comes in, it gets a decent workout for the duration (though not as much of a workout as in Dig It). In all, about what you’d expect for acid techno of any year.

So, um... yeah. Nothing’s changed for that scene at all.

And that’s perfectly fine. The London acid techno crew has always been singular in their manifesto, supplying ample hardware for kick-ass, in your face, off your nut parties. Go in, get mashed, dance until dawn, bleed your sweat glands dry. Then go home, rest, and wait for another time to indulge, most likely weeks or months away. It may be simple, but it does the job, and that’s all hard acid lovers want or need. These guys are still kicking out the jams like its 1995, and if this 12” is anything to go by, it’s a formula that won’t die anytime soon. Respect.

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 2024 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 Abstrakce Records AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno acid trance 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 Aesthetical 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 Antares 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 Arctic Hospital Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts As If 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 Ben Sims 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 Boom Boom Satellites 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 brostep Bryan Adams BT Bubble Buffalo Springfield Bulk Recordings Burial Burned CDs Bursak Records Bush Busta Rhymes Buttertones bvdub C.I.A. Calibre calypso Canibus Canned Resistor Canopy Of Stars Capitol Records Capsula Captain Hollywood Project Captured Digital Carbon Based Lifeforms Caribou Carl B Carl Craig Carlos Ferreira Carol C Caroline Records Carpe Sonum Novum Carpe Sonum Records Castroe Casual Cat Sun CD-Maximum Ceephax Acid Crew Celestial Dragon Records Cell Celtic Centaspike Cevin Fisher Cheb i Sabbah Cheeky Records chemical breaks Chihei Hatakeyama Children Of The Bong chill out chill-out chiptune Chris Duckenfield Chris Fortier Chris Korda Chris Liebing Chris Sheppard Chris Witoski Christmas Christopher Lawrence Chromeo Chronos Chrysalis Ciaran Byrne cinematic soundscapes Circle of Pines Circular Ciro Berenguer Cirrus Cities Last Broadcast City Of Angels CJ Stone Claptone classic house classic rock classical Claude VonStroke 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 Cymphonica Cypher 7 Cypress Hill Cyril Secq Czarface D York 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 deep tech 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 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 Ellen Allien 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 Erot 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 Filteria 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 Frame Of Mind Francis M Gri Franck Vigroux 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 Function 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 Gerd Get Physical Music GGGG 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 God's Groove 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 Havoc Hawtin Headphone Hearts Of Space Hed Kandi Hefty Records Helen Marnie Hell Hercules And Love Affair Hernán Cattáneo Herne 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 Imba Imogen Heap Imperial Dancefloor Imploded View In Charge In The Face Of 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 Jeannine Sculz Jefferson Airplane Jerry Goldsmith Jesper Dahlbäck Jesse Rose 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 John Tejada 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 Justin Timberlake Ka-Sol 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 Kiphi Kitaro Klang Elektronik Klaus Schulze Klik Records KMFDM Koch Records Koichi Sugiyama Kolhoosi 13 Komakino Kompakt Kon Kan Kontor Records Kool Keith Kozo Kraftwelt Kraftwerk Krafty Kuts Kranky krautrock Kriistal Ann Krill.Minima Kris O'Neil Kriztal KRS-One Kruder and Dorfmeister Krusseldorf Krystian Shek Kubinski KuckKuck Kulor Kurupt Kwook L.B. Dub Corp L.S.G. L'usine La Luz Lab 4 Ladytron LaFace Records Lafleche Lamb Lange Lantern 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 Life Enhancing Audio 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 Logan Sama Logic Records 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 Magicwire 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 Martyn Marvin Gaye Maschine Massimo Vivona Massive Attack Masta Killa Master Margherita Masterboy 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 Michael Stearns 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 minimalism 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 Nebula Meltdown Nebulae Records Neil Young Nelly Furtado Neo Ouija Neo-Adventures Neogoa 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 Music Omni Trio Omnimotion Omnisonus On Delancey Street One Little Indian Onyx Oophoi Oosh Open Open Canvas Opium Opus III orchestral Original TranceCritic review Origo Sound Orkidea Orla Wren Ornament Ostgut Ton Ott Ottsonic Music Ouragan Out Of The Box OutKast Outmosphere Records Outpost Records Overdream Owl P-Ben Pale Glow Paleowolf Pan Sonic Pantera Pantha Du Prince Paolo Mojo Parental Advisory Parlaphone Part-Sub-Merged Pascal F.E.O.S. Past Inside The Present Patreon Patrick Dream Paul Moelands Paul Oakenfold Paul van Dyk Pendulum Pentatonik Perfect Stranger Perfecto Perturbator Pet Shop Boys Petar Dundov Pete Namlook Pete Tong Peter Andersson Peter Benisch Peter Broderick Peter Gabriel Peter Tosh Phantogram Phonothek Photek Phutureprimitive Phynn PIAS Recordings Pinch Pink Floyd Pioneer Pitch Black PJ Harvey Plaid Planet Dog Planet Earth Recordings Planet Mu Planetary Assault Systems Planetary Consciousness Plastic City Plastikman Platinum Platipus Pleq Plump DJs Plunderphonic Plus 8 Records PM Dawn Poker Flat Recordings Polar Seas Recordings Pole Folder politics Polydor Polytel pop Popular Records Porya Hatami positivesource post-dubstep post-punk power electronics Prince Prince Paul Prins Thomas Priority Records Private Mountain Procs Profondita prog prog metal prog psy prog rock prog-psy progress house Progression progressive breaks progressive house progressive rock progressive trance Prolifica Proper Records Prototype Recordings protoU Pryda psy chill psy dub Psy Spy Records psy trance psy-chill psy-dub psychedelia Psychick Warriors Ov Gaia Psychomanteum Psychonavigation Psychonavigation Records Psycoholic Psykosonik Psysolation Public Enemy Pulse-8 Records punk punk rock Pureuphoria Records Purl Purple Soil Push PWL International Q-Burns Abstract Message 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 Res 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 Sacred Seeds 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 Sound Synthesis 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 Stereo Raptor 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 Subtle Shift Suction Records Suduaya Suicide Squeeze SUN Project Sun Station Sunbeam Sunday Best Recordings Sunscreem Suntrip Records Supercar Superstition surf rock Susumu Yokota Sven van Hees Sven Väth SVLBRD Swayzak Sweet Trip swing Switch Swollen Members Sykonee Survey Sylk 130 Symmetry Synaptic Voyager Sync24 Synergy Synkro synth pop synth-pop synthwave System 7 Taboo Tactic Records Take Me To The Hospital Tall Paul Tammy Wynette Tangerine Dream Tau Ceti Taylor Taylor Deupree Tayo tech house Tech Itch Digital Tech Itch Recordings tech-house tech-step tech-trance Technical Itch techno technobass Technoboy Tectonic Telefon Tel Aviv Telstar Terminal Antwerp Terra Ferma Terror Cell Terry Lee Brown Jr Tetsu Inoue Textere Oris The 13th Sign The Angling Loser The B-52's The Beach Boys The Beatles The Black Dog The Boats The Brian Jonestown Massacre The Bug The Chemical Brothers The Circular Ruins The Clash The Council The Cranberries The Crystal Method The Digital Blonde The Dust Brothers The Field The Frozen Vaults The Gentle People The Glimmers The Green Kingdom The Grey Area The Grid The Hacker The Herbaliser The Human League The Irresistible Force The KLF The Micronauts The Misted Muppet The Movement The Music Cartel The Null Corporation The Oak Ridge Boys The Offspring The Orb The Police The Prodigy The Real McCoy The Roots The Sabres Of Paradise The Shamen The Sharp Boys The Sonic Voyagers The Squires The Stills-Young Band The Stray Gators The Tea Party The Tragically Hip The Velvet Underground The Wailers The White Stripes The Winterhouse themes Thievery Corporation Third Contact Third World Tholen Thrive Records Tiefschwarz Tierro Cosmico Tiësto Tiga Tiger & Woods Tijuana Panthers Timbaland Time Life Music Time Warp Timecode Timestalker Tineidae Tipper Tobias Tocadisco Todd Terje Toki Fuko Tom Middleton Tom Tom Club Tomas Jirku Tomita Tommy '86 Tommy Boy Ton T.B. 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