Reprise Records: 1990
This album took me from “Yeah, Neil Young's got some nice music, I guess.” to “Neil is God!” That might not be as impressive as it seems, despite Ragged Glory being the second record I picked up from Mr. Shakey (and first with the Crazy Horses). Had I nabbed one of his early efforts like Rust Never Sleeps or After The Goldrush before this, it’s probable I'd fall sway to his musical allure just the same. I can't even remember why I took the plunge on this one in particular, since all I really knew of his output was the Harvest Moon folksy material (Rockin' In The Free World notwithstanding). I'd heard good things about Ragged Glory, sure, but nothing that suggested it was a life-changing album or the like. Took that plunge I did though, after which I was compelled to consume all that Mr. Young had released. Fortunately for my bank account, the country hoe-down Old Ways was my follow-up, quickly instilling some caution in any further explorations of Neil's discography.
For all intents, there isn't anything about Ragged Glory that should have had the impact on me that it did. It’s a great rock album, no doubt, but it’s not reinventing the wheel or leading the charge of a new, unique scene. The music is catchy and unchallenging, with guitar riffs going down easy and sweet vocal harmonies that’ll lodge themselves in your brain without ever overstaying their welcome. The lyrics have little nuggets of aging wisdom about them (or, in the case of Farmer John, are just sloppy good fun), though seem written as mere service to the music performed. At most, Ragged Glory serves as a definitive statement for aging rockers that one not need fade away like so much bad ‘80s hair. Unlike many of his fellow ‘60s and ‘70s alum, he found kinship with the new generation of alt-rock and grunge bands emerging from the underground, and was fearless in joining their ranks. If his prior album Freedom was a rebirth of sorts, then Ragged Glory finds Neil full of fire and flying high above his contemporaries.
I can’t say any of you will have the same notions about this album should you hear it, especially as you’re reading this on an electronic music blog (mang, crunchy guitar solos are totally electronic!). I guess in my case, Ragged Glory represented the sort of rock that I always imagined rock music should sound like, but seldom heard performed. Believe me, with all the garage bands I’ve been exposed to over the years, none had such a rugged edge while retaining bar-blues affability and dismissing arrogant posturing. Young’s solos here are wild and messy, yet I hang on each chord, eagerly anticipating which unpredictable direction he’ll go in next, always reassured he’ll find his way back to Crazy Horse’s steadying rhythm. I imagine, had I heard Ragged Glory before ‘techno’ seduced me, I’d have picked up that damn guitar like my old man always hoped I would.
Wednesday, February 11, 2015
Tuesday, February 10, 2015
Kraftwerk - Radio-Activity
Astralwerks: 1975/2009
No, Kraftwerk, don't do it! No one's ready for a concept album from your group. Lengthy songs, sure that's fine, but sound experiments and quirky odes to Ohms is going too far. It'll be years before your promising, influential career will rebound from Radio-Activity. True, it'll all work out in the future-tense, when everyone goes back to these disregarded efforts with reverent eyes and ears. Can you afford that gap though? No, not yet, so just go make another Autobahn, over and over and over. Curses, why doesn't this time-travel portal let me interact with the past? More radioactive power, that’s what I need. Once accomplished, maybe I then could use this time-travel portal to go back a few minutes in the past and convince myself starting this review in such a goofy manner is a bad idea, yes?
The German quartet though, they had a vision, one where the future was now (then), and leading us into this undiscovered country were some of mankind’s greatest scientific discoveries of the last hundred years: the invisible realms of electromagnetic radio waves, and the radioactive energy emanating from everything that surrounds us. This wasn’t just Kraftwerk’s attitude either, as many Germans looked to the years ahead with fascination and optimism (the recent past was something of a sore spot) – it’s no coincidence many early electronic musicians hailed from Deutschland. That the Dusseldorf band would temporarily abandon the autobahn to explore things like transistors and Geiger counters makes perfect sense. Unfortunately, where Radio-Activity is concerned, a couple problems arise.
One, those darn experimental bits. As pieces of a concept album exploring the different aspects of radio transmissions and radiation, they’re fine, but man does it ever derail whatever musical momentum Radio-Activity has going for it. Okay, Geiger Counter is a cool opener, and The Voice Of Energy has that wicked-awesome Kraftwerk robot voice utilized for the first time. News though? Sorry, muffled German broadcasting items of the day isn’t compelling, especially following Intermission pings. And Radio Stars could have been a neat little bit of space-meditation if all those bleeps weren’t so grating.
Still, all this talk of radio activity, concepts of electromagnetic radiation, and evil-sounding robot voices, and it’s small surprise a few folks were sore at Kraftwerk’s seemingly thumbs-up for the nuclear age, potential nasty side-effects and all. Even the bouncy, chirpy tunes the group’s known for are rather absent, much of Radio-Activity cold and sterile as musique concrete of old. When our intrepid Germans do get melodic, it’s almost always melancholic (Radioland, Ohm Sweet Ohm) or ominous (Radioactivity, Uranium). Things aren’t out-and-out bleak on this album, but it sure isn’t as campy-fun as Autobahn or pop-tasty as their later work. At least Airwaves and Antenna bring a little peppy novelty for our listening consideration.
If you fear not these factors, then Radio-Activity is worth checking out. Though it’s the least essential of Kraftwerk’s Fabulous Five albums, it’s still interesting hearing the group discover their way through new ideas and gear.
No, Kraftwerk, don't do it! No one's ready for a concept album from your group. Lengthy songs, sure that's fine, but sound experiments and quirky odes to Ohms is going too far. It'll be years before your promising, influential career will rebound from Radio-Activity. True, it'll all work out in the future-tense, when everyone goes back to these disregarded efforts with reverent eyes and ears. Can you afford that gap though? No, not yet, so just go make another Autobahn, over and over and over. Curses, why doesn't this time-travel portal let me interact with the past? More radioactive power, that’s what I need. Once accomplished, maybe I then could use this time-travel portal to go back a few minutes in the past and convince myself starting this review in such a goofy manner is a bad idea, yes?
The German quartet though, they had a vision, one where the future was now (then), and leading us into this undiscovered country were some of mankind’s greatest scientific discoveries of the last hundred years: the invisible realms of electromagnetic radio waves, and the radioactive energy emanating from everything that surrounds us. This wasn’t just Kraftwerk’s attitude either, as many Germans looked to the years ahead with fascination and optimism (the recent past was something of a sore spot) – it’s no coincidence many early electronic musicians hailed from Deutschland. That the Dusseldorf band would temporarily abandon the autobahn to explore things like transistors and Geiger counters makes perfect sense. Unfortunately, where Radio-Activity is concerned, a couple problems arise.
One, those darn experimental bits. As pieces of a concept album exploring the different aspects of radio transmissions and radiation, they’re fine, but man does it ever derail whatever musical momentum Radio-Activity has going for it. Okay, Geiger Counter is a cool opener, and The Voice Of Energy has that wicked-awesome Kraftwerk robot voice utilized for the first time. News though? Sorry, muffled German broadcasting items of the day isn’t compelling, especially following Intermission pings. And Radio Stars could have been a neat little bit of space-meditation if all those bleeps weren’t so grating.
Still, all this talk of radio activity, concepts of electromagnetic radiation, and evil-sounding robot voices, and it’s small surprise a few folks were sore at Kraftwerk’s seemingly thumbs-up for the nuclear age, potential nasty side-effects and all. Even the bouncy, chirpy tunes the group’s known for are rather absent, much of Radio-Activity cold and sterile as musique concrete of old. When our intrepid Germans do get melodic, it’s almost always melancholic (Radioland, Ohm Sweet Ohm) or ominous (Radioactivity, Uranium). Things aren’t out-and-out bleak on this album, but it sure isn’t as campy-fun as Autobahn or pop-tasty as their later work. At least Airwaves and Antenna bring a little peppy novelty for our listening consideration.
If you fear not these factors, then Radio-Activity is worth checking out. Though it’s the least essential of Kraftwerk’s Fabulous Five albums, it’s still interesting hearing the group discover their way through new ideas and gear.
Labels:
1975,
album,
Astralwerks,
electro,
experimental,
Kraftwerk
Monday, February 9, 2015
Asura - Radio Universe
Ultimae Records: 2014
Though Radio Universe came out in the back-half of 2014, its Ultimae catalogue number suggests it should have come out at least a year earlier. Did Asura initially not feel satisfied with his latest LP and withheld it? Some legal hiccup with sample clearances? Waiting for the label to work out its dub techno 'grey' phase? Hoping to catch some backwash interest in space music once Interstellar hit theatres? The people wish to know these things! And by people, I probably mean only me, but I are people too, dang'it.
Ah, you noticed ‘space music’ in that sequence of supposition. ‘Tis true, Mr. Farewell has dabbled in the classic side of synth composition before, some of his best work the out-worldly pieces in his albums. It was only a matter of time before the sounds explored on tunes like Galaxies and Halley Road would feature in a full-length concept. For that matter, I’m surprised Asura’s taken this long for an attempt, but then he does have a rather sluggish output compared to his roster mates at Ultimae (and Altar!). Half-a-dozen albums in twice as many years is downright glacial against Aes Dana, Solar Fields, AstroPilot, namedrop, namedrop, and namedrop.
As for the type of space music we’re dealing with on Radio Universe, it’s primarily of the droning ambient sort. A beat doesn’t emerge until well after the album’s midway point, though second track Interlude Sky does have building synth arpeggios as a peak feature – you have no idea how much I was hoping for a fierce prog-psy beat towards the end of that one. Meanwhile, ten-minute long opener Overture has a little more cinematic, orchestral flourish, twelve-minute long Oblivion Gravity goes darker, eight-minute long Ascension In Blue feels rapturous and bliss, and one-minute long Gaea (Transit) sounds like those converted electromagnetic radio emissions of planets NASA likes giving out (and space drone composers love sampling). For that matter, I’ve noticed a bit of omnipresent hiss throughout all these tracks. Charles! Charlie! Charl-mang! Have you added the CMB to your music too? Nice.
As for the back half where the tempo picks up a bit, much of it comes off like standard Asura chill-out with HD production chops. Farscape 7 has a world-beat trip-hop thing going for it, Lonely Star’s got charming, melancholic piano but is undone by way-overdone side-chained bottom ends, Illuminations grooves along nicely enough, and Everlasting heads for the stars in blissed-out rapture. Frankly, the earlier drone compositions were more interesting, coming off bolder in their arrangements and sound design, though I’m not sure folks would be keen on a pure ambient drone LP on Ultimae.
Radio Universe is an intriguing listen, especially with good playback headphones or stereo. As a concept album, however, it falls a bit short, losing its way in the back half compared to the absorbing first. Probably will be a disappointment if you go in expecting another Life² (sorry, no psy here), but all said, it’s another solid offering of music from Asura.
Though Radio Universe came out in the back-half of 2014, its Ultimae catalogue number suggests it should have come out at least a year earlier. Did Asura initially not feel satisfied with his latest LP and withheld it? Some legal hiccup with sample clearances? Waiting for the label to work out its dub techno 'grey' phase? Hoping to catch some backwash interest in space music once Interstellar hit theatres? The people wish to know these things! And by people, I probably mean only me, but I are people too, dang'it.
Ah, you noticed ‘space music’ in that sequence of supposition. ‘Tis true, Mr. Farewell has dabbled in the classic side of synth composition before, some of his best work the out-worldly pieces in his albums. It was only a matter of time before the sounds explored on tunes like Galaxies and Halley Road would feature in a full-length concept. For that matter, I’m surprised Asura’s taken this long for an attempt, but then he does have a rather sluggish output compared to his roster mates at Ultimae (and Altar!). Half-a-dozen albums in twice as many years is downright glacial against Aes Dana, Solar Fields, AstroPilot, namedrop, namedrop, and namedrop.
As for the type of space music we’re dealing with on Radio Universe, it’s primarily of the droning ambient sort. A beat doesn’t emerge until well after the album’s midway point, though second track Interlude Sky does have building synth arpeggios as a peak feature – you have no idea how much I was hoping for a fierce prog-psy beat towards the end of that one. Meanwhile, ten-minute long opener Overture has a little more cinematic, orchestral flourish, twelve-minute long Oblivion Gravity goes darker, eight-minute long Ascension In Blue feels rapturous and bliss, and one-minute long Gaea (Transit) sounds like those converted electromagnetic radio emissions of planets NASA likes giving out (and space drone composers love sampling). For that matter, I’ve noticed a bit of omnipresent hiss throughout all these tracks. Charles! Charlie! Charl-mang! Have you added the CMB to your music too? Nice.
As for the back half where the tempo picks up a bit, much of it comes off like standard Asura chill-out with HD production chops. Farscape 7 has a world-beat trip-hop thing going for it, Lonely Star’s got charming, melancholic piano but is undone by way-overdone side-chained bottom ends, Illuminations grooves along nicely enough, and Everlasting heads for the stars in blissed-out rapture. Frankly, the earlier drone compositions were more interesting, coming off bolder in their arrangements and sound design, though I’m not sure folks would be keen on a pure ambient drone LP on Ultimae.
Radio Universe is an intriguing listen, especially with good playback headphones or stereo. As a concept album, however, it falls a bit short, losing its way in the back half compared to the absorbing first. Probably will be a disappointment if you go in expecting another Life² (sorry, no psy here), but all said, it’s another solid offering of music from Asura.
Sunday, February 8, 2015
Gilles Peterson - Broken Folk Funk Latin Soul
Muzik Magazine: 2003
The title's a pisstake. It must be. True, the music within this CD does fit the mould of what a 'broken folk funk Latin soul' collection would sound like, but using five descriptors as a genre is plain ol' silly. Not that Gilles Peterson couldn't get away with it though. As the guy who coined the term ‘acid jazz’ when he threw events called Acid Jazz promoting material on his label Acid Jazz, why not go for the ultimate in redundancy, especially as everyone was making up ridiculous genre names for magazine CDs? Muzik had released a 'hooligan house' disc just prior, while rival Mixmag featured 'disco d'nb' with their freebie the same month this came out. Damn it, The UK, stop trying to invent new genre names all the time. It's too confusing for us North American bumpkins.
Wait, is this the first time I’ve talked about Mr. Peterson at this blog? Crap, gotta’ turn this review proper serious now. Not only was he influential in making acid jazz a thing in Britain, but he exposed many a young ‘90s English post-clubber onto various cultured music scenes from the world abroad. Mostly they were jazz fusions from the realms of New York, Latin America, and Afro Nation, but he helped bring some degree of class to the UK’s early garage movement too. No matter how far off the beaten path his records were culled from, ol’ Gilles always kept one foot in London’s urban jungle too.
Still, if you’ve a passion for bringing such music to a willing audience, heading an influential label and DJing out at events is limiting. Nay, to reach the maximum potential earholes, one must go to the airwaves, radio that is. And, at the turn of the millennium, that’s what Mr. Peterson done did, getting him a show called Worldwide on the omnipresent Radio 1 of BBC fame, which he’s maintained to this day. It was about the time this Muzik CD came out that Gilles had firmly cemented itself as a broadcaster on peer with the likes of Tong and Peel, even earning himself an award for Top Radio Show from the magazine that year. Why yes Broken Folk Funk Latin Soul is totally designed to promote that fact, why do you ask?
More compilation than DJ mix, this disc holds a nice assortment of the movers and shakers of the UK’s jazzy urban-soul that consistently bubbled in London’s underground. Mr. Scruff is here! Harmonic 33 is here! The Cinematic Orchestra is here! Roots Manuva is here (because he was everywhere in the early ‘00s)! Talib Kweli’s here! Nirvana’s here! …er, I mean, their song Come as You Are is here, by way of a soul cover care of Dani Siciliano. There’s also conscious rap from Lone Catalysts, jazzdance from Micatone, soul-shuffle jazz from Kuusumun Profeetta, and a cool groove thing by some duo called Underworld. Perhaps you’ve heard of them? You haven’t? Oh, you’re here for that Osunlade joint. Fair play.
The title's a pisstake. It must be. True, the music within this CD does fit the mould of what a 'broken folk funk Latin soul' collection would sound like, but using five descriptors as a genre is plain ol' silly. Not that Gilles Peterson couldn't get away with it though. As the guy who coined the term ‘acid jazz’ when he threw events called Acid Jazz promoting material on his label Acid Jazz, why not go for the ultimate in redundancy, especially as everyone was making up ridiculous genre names for magazine CDs? Muzik had released a 'hooligan house' disc just prior, while rival Mixmag featured 'disco d'nb' with their freebie the same month this came out. Damn it, The UK, stop trying to invent new genre names all the time. It's too confusing for us North American bumpkins.
Wait, is this the first time I’ve talked about Mr. Peterson at this blog? Crap, gotta’ turn this review proper serious now. Not only was he influential in making acid jazz a thing in Britain, but he exposed many a young ‘90s English post-clubber onto various cultured music scenes from the world abroad. Mostly they were jazz fusions from the realms of New York, Latin America, and Afro Nation, but he helped bring some degree of class to the UK’s early garage movement too. No matter how far off the beaten path his records were culled from, ol’ Gilles always kept one foot in London’s urban jungle too.
Still, if you’ve a passion for bringing such music to a willing audience, heading an influential label and DJing out at events is limiting. Nay, to reach the maximum potential earholes, one must go to the airwaves, radio that is. And, at the turn of the millennium, that’s what Mr. Peterson done did, getting him a show called Worldwide on the omnipresent Radio 1 of BBC fame, which he’s maintained to this day. It was about the time this Muzik CD came out that Gilles had firmly cemented itself as a broadcaster on peer with the likes of Tong and Peel, even earning himself an award for Top Radio Show from the magazine that year. Why yes Broken Folk Funk Latin Soul is totally designed to promote that fact, why do you ask?
More compilation than DJ mix, this disc holds a nice assortment of the movers and shakers of the UK’s jazzy urban-soul that consistently bubbled in London’s underground. Mr. Scruff is here! Harmonic 33 is here! The Cinematic Orchestra is here! Roots Manuva is here (because he was everywhere in the early ‘00s)! Talib Kweli’s here! Nirvana’s here! …er, I mean, their song Come as You Are is here, by way of a soul cover care of Dani Siciliano. There’s also conscious rap from Lone Catalysts, jazzdance from Micatone, soul-shuffle jazz from Kuusumun Profeetta, and a cool groove thing by some duo called Underworld. Perhaps you’ve heard of them? You haven’t? Oh, you’re here for that Osunlade joint. Fair play.
Saturday, February 7, 2015
Various - Radikal Techno - Too Radikal (Original TC Review)
Quality Music: 1993
(2015 Update:
I still can't believe this CD turned up as a Random Review less than a year after I wrote about the first Radikal Techno. Makes me wonder, had I stuck to doing occasional reviews by random selection, would the third, fourth, or even multi-CD box set have come up. Not sure how that'd be possible, as I only have two Radikal Technos, but those Digital Disc Imps, they're a tricky bunch. Always moving your music out of place, somehow shuffling CDs out of sight even as you diligently scan spine by spine looking for that one album you just gotta' pull out to show off to house guests. Ahem, what I mean is, I wouldn't put it past those Imps to add something too. For reals, where'd this dusty garage rock demo suddenly come from?
You know what else surprised me? Discovering Radikal Records is still in operation, now a full-on festival house and brostep outlet. Wait, that's not surprising at all, the label's choice in music output always skewing towards the commercially friendly side of the dancefloor - of course they'd jump on the latest hot bandwagon. Still, maybe they should have rebranded their name as well. Calling yourself 'radikal' is just too damn '90s, man.)
IN BRIEF: Not as good as the first.
Okay, this is getting ridiculous. Yes, I know I have a fair deal of old dance CDs in my music collection, but it can’t make up more than 5% of everything I own. Yet, these Random Reviews have seen an inordinate amount of them crop up. Club Europa, The Movement, Scooter’s Age Of Love, Maxx’ No More, Snap!’s Welcome To Tomorrow, the first Radikal Techno… What’s next, Euro Dance Pool, Club Cutz, or Ice MC’s album? (2015 note: it came true! …kinda’) Why can’t I ever pull one of my many Moonshine Records discs? A classic trance compilation? Hell, even a Turbo Recordings choice again – I haven’t picked one since the very first Random. I suppose the good news here is that I have to eventually run out of these.
I’ll be honest with you. The trouble is, unlike the first Radikal Techno, there isn’t much to say about Too Radikal. The first one had enough quirky things about it that the compilation actually makes for an interesting Random: remixes that are rather rare, well-known producers cutting their teeth with early works, plus a scrappy attitude that went part-and-parcel with the ’92 rave scene. The sequel, however, lacks any of this. If anything, Too Radikal shows how, within a year, the commercial dance business had cleaned itself up from its grubby rave days and present itself with a far more slick sheen that would go on to define euro dance of the mid-‘90s. Even the cover, despite the somewhat goa attributes, comes across squeaky clean in comparison.
Fourteen tracks are to be had here, but nearly all of them could also easily be had on several other compilations, making this far from unique or necessary. The music, for the most part though, isn’t bad. Mostly, you have ‘underground’ versions of big euro-hits, which is just another way of saying trancey mixes. A few cuts have held up remarkably well: Te Quiero’s almost-psy leanings is still an infectious tune; with moody acid burbling about, Joey Beltram’s Old School Dub Mix of Open Your Mind is quite good, if somewhat simplistic; and the Abfarht team struck gold once again with Wanna Feel The Music as Public Art. Meanwhile, euro dance fluff from A.B. Free (who’d go on to bigger things as DJ Company), Apotheosis (completely abandoning their original rave sound), Afrika Bambaata (yes, that Bambaata, now hanging out with Italian producers for some reason), Dance 2 Trance, Love 4 Sale, and Ramirez are all agreeable, though dated. For instance, the backing pads in Do You Feel So Right are pure trance bliss, but the rest of the track is quite muffled; Go Deeper’s production is so hilariously flat, you’d think it was an ‘80s tune; and what the hell is with those chicken noises in El Gallinero?
On the other hand, little holds up in the offerings from R.T.Z., 2 Unlimited, Deadly Sins, and Mars Plastic, coming off like knock-offs of better productions of the time. In The Name Of Love has some decent beats, but that looping hook will quickly irritate; We Are Going On Down is silly with those rollercoaster samples and ‘whooaAAAAooohhh’ chants; not the best version of No Limit here; Find The Way is generic garage house from that time. Oh, and then there’s the hopelessly corny It’s A Feeling, which rips off the marching rhythms of The Good Men’s Give It Up, and throws in sappy happy hardcore sentiments. I cringed with this one even back in the day.
Y’ah, see how fast I wrapped this one up? There’s just not much else to talk about here. I suppose you could be wondering why I’d even still have a compilation like Too Radikal if it’s this generic. Well, I have to admit there are quite a few personally nostalgic reasons. If the first Radikal Techno was my second CD, this was something like my fifth, so obviously I’d end up replaying it often. I certainly do have amusing memories of Te Quiero (oh my god, that woman’s having an orgasm!) and We Are Going On Down (are they saying ‘funky town’ or ‘fucking town’?); and although there really isn’t much on here that’d be true-blue trance, there was enough trancey attributes here to undoubtedly make an influence on my early music tastes (even if I wouldn’t take the full proper plunge for another couple years down the road).
I dunno. If you see this around and don’t have any of these tracks… ah, you might still be better off just downloading the good ones. Like I said, this isn’t a bad compilation, just really unnecessary to have. Do what you like if you see it lying in a used shop.
Written by Sykonee for TranceCritic.com, 2009. All rights reserved.
(2015 Update:
I still can't believe this CD turned up as a Random Review less than a year after I wrote about the first Radikal Techno. Makes me wonder, had I stuck to doing occasional reviews by random selection, would the third, fourth, or even multi-CD box set have come up. Not sure how that'd be possible, as I only have two Radikal Technos, but those Digital Disc Imps, they're a tricky bunch. Always moving your music out of place, somehow shuffling CDs out of sight even as you diligently scan spine by spine looking for that one album you just gotta' pull out to show off to house guests. Ahem, what I mean is, I wouldn't put it past those Imps to add something too. For reals, where'd this dusty garage rock demo suddenly come from?
You know what else surprised me? Discovering Radikal Records is still in operation, now a full-on festival house and brostep outlet. Wait, that's not surprising at all, the label's choice in music output always skewing towards the commercially friendly side of the dancefloor - of course they'd jump on the latest hot bandwagon. Still, maybe they should have rebranded their name as well. Calling yourself 'radikal' is just too damn '90s, man.)
IN BRIEF: Not as good as the first.
Okay, this is getting ridiculous. Yes, I know I have a fair deal of old dance CDs in my music collection, but it can’t make up more than 5% of everything I own. Yet, these Random Reviews have seen an inordinate amount of them crop up. Club Europa, The Movement, Scooter’s Age Of Love, Maxx’ No More, Snap!’s Welcome To Tomorrow, the first Radikal Techno… What’s next, Euro Dance Pool, Club Cutz, or Ice MC’s album? (2015 note: it came true! …kinda’) Why can’t I ever pull one of my many Moonshine Records discs? A classic trance compilation? Hell, even a Turbo Recordings choice again – I haven’t picked one since the very first Random. I suppose the good news here is that I have to eventually run out of these.
I’ll be honest with you. The trouble is, unlike the first Radikal Techno, there isn’t much to say about Too Radikal. The first one had enough quirky things about it that the compilation actually makes for an interesting Random: remixes that are rather rare, well-known producers cutting their teeth with early works, plus a scrappy attitude that went part-and-parcel with the ’92 rave scene. The sequel, however, lacks any of this. If anything, Too Radikal shows how, within a year, the commercial dance business had cleaned itself up from its grubby rave days and present itself with a far more slick sheen that would go on to define euro dance of the mid-‘90s. Even the cover, despite the somewhat goa attributes, comes across squeaky clean in comparison.
Fourteen tracks are to be had here, but nearly all of them could also easily be had on several other compilations, making this far from unique or necessary. The music, for the most part though, isn’t bad. Mostly, you have ‘underground’ versions of big euro-hits, which is just another way of saying trancey mixes. A few cuts have held up remarkably well: Te Quiero’s almost-psy leanings is still an infectious tune; with moody acid burbling about, Joey Beltram’s Old School Dub Mix of Open Your Mind is quite good, if somewhat simplistic; and the Abfarht team struck gold once again with Wanna Feel The Music as Public Art. Meanwhile, euro dance fluff from A.B. Free (who’d go on to bigger things as DJ Company), Apotheosis (completely abandoning their original rave sound), Afrika Bambaata (yes, that Bambaata, now hanging out with Italian producers for some reason), Dance 2 Trance, Love 4 Sale, and Ramirez are all agreeable, though dated. For instance, the backing pads in Do You Feel So Right are pure trance bliss, but the rest of the track is quite muffled; Go Deeper’s production is so hilariously flat, you’d think it was an ‘80s tune; and what the hell is with those chicken noises in El Gallinero?
On the other hand, little holds up in the offerings from R.T.Z., 2 Unlimited, Deadly Sins, and Mars Plastic, coming off like knock-offs of better productions of the time. In The Name Of Love has some decent beats, but that looping hook will quickly irritate; We Are Going On Down is silly with those rollercoaster samples and ‘whooaAAAAooohhh’ chants; not the best version of No Limit here; Find The Way is generic garage house from that time. Oh, and then there’s the hopelessly corny It’s A Feeling, which rips off the marching rhythms of The Good Men’s Give It Up, and throws in sappy happy hardcore sentiments. I cringed with this one even back in the day.
Y’ah, see how fast I wrapped this one up? There’s just not much else to talk about here. I suppose you could be wondering why I’d even still have a compilation like Too Radikal if it’s this generic. Well, I have to admit there are quite a few personally nostalgic reasons. If the first Radikal Techno was my second CD, this was something like my fifth, so obviously I’d end up replaying it often. I certainly do have amusing memories of Te Quiero (oh my god, that woman’s having an orgasm!) and We Are Going On Down (are they saying ‘funky town’ or ‘fucking town’?); and although there really isn’t much on here that’d be true-blue trance, there was enough trancey attributes here to undoubtedly make an influence on my early music tastes (even if I wouldn’t take the full proper plunge for another couple years down the road).
I dunno. If you see this around and don’t have any of these tracks… ah, you might still be better off just downloading the good ones. Like I said, this isn’t a bad compilation, just really unnecessary to have. Do what you like if you see it lying in a used shop.
Written by Sykonee for TranceCritic.com, 2009. All rights reserved.
Friday, February 6, 2015
Various - Radikal Techno (Original TC Review)
Quality Music: 1992
(2015 Update:
"Objective straight-faced criticism"? What does that even mean? And, oh-ho-ho, shame on you, 2008 Sykonee, for even suggesting every review you wrote was truly objective. I'd tried toeing the 'hard but fair' line most of the time, but there were plenty instances of throwing any supposed objectivity out the window in favor of a long-winded rant or gush. Ah well, at least I get to wear all my biases in plain view for this blog, and not rely on lengthy opening paragraphs explaining away such changes in writing tone.
There's two things I neglected mentioning regarding the Radikal Techno series that I may as well bring up now. 1. The name comes from the record label that released most of these tunes, Radikal Records, a New Jersey print that specialized in commercial dance singles from Europe - Quality Music handled their Canadian distribution, hence why I've so many of their CDs. 2. Radikal Techno actually lasted for a good decade, reaching a sixth edition featuring the likes of ATB, Cosmic Gate, and Brooklyn Bounce. Of course, by that time, Quality Music had long-since folded, so it was a case of Radikal Records using the name of a compilation series promoting their material created by another label. And I've gone cross-eyed.)
IN BRIEF: They don’t make ‘em like this anymore.
I tried. Really, I did. As much as I’d love to dive into this Random Review with all the objective straight-faced criticism I approach any other release, the history I personally have with this compilation makes it incredibly difficult. You see, my friends, this simple little release titled Radikal Techno is the second CD I ever owned. It’s survived accidents, theft during parties, drunken vandalism during parties, transportation from a number of different homes, and desperate pawn-shop plundering during periods of destitution, yet has remained in remarkable condition during it all.
“So what?” you say. “It’s just an old CD with a bunch of early 90s techno on it; not like it’s some rare original 7" Cybotron record.” True, but as anyone who has had a habit of coddling their music for years can attest to, such nurturing inhibits objective perspectives of the actual material on display.
Fact is, I still enjoy Radikal Techno. Yes, some of the production is hopelessly dated (there are frequent uses of the oh-so cutting edge Stereo-Pan Effect). Yes, some of the crappier trends in techno of the early ‘90s are present. And yes, I completely agree my continued enjoyment of this CD could simply be attributed to fuzzy warm nostalgia. Yet nor could I pass this off to an associate of mine to get their objective opinions of it because pretty much everyone I know quite enjoys the old school. And shouldn’t that be enough to convince you, the reader, that Radikal Techno has more going for it than starry-eyed trips down memory lane? Just look at some of these cuts!
For sure, there are overly familiar names here: 2 Unlimited, Age Of Love, Human Resource, Joey Beltram... and that’s just what anyone with basic background of electronic music should recognize. However, with the exception of Age Of Love, where Jam & Spoon’s remix would go on to see endless compilation duty in the years to come (I don’t think anyone in ‘92 could have predicted that), Radikal Techno offers some true rarities from them. The Two Little Boys remix of Twilight Zone plays around with those famous hooks, providing a funkier spin for the underground to appreciate. Rush To The Rhythm, a track featuring super-fast breaks, raps, and cut’n’paste production, is one of Beltram’s more obscure releases. And Glitch’s long-forgotten remix of Dominator is stellar, bringing blistering techno beats to this hoover anthem, spiking it with intensity benefitting of thrash metal throughout.
Elsewhere on this tracklist are a bunch of tunes that were quite popular ‘back in the day’ and, although mostly forgotten now, hold up remarkably well. Everyone knows Apotheosis’ O Fortuna, but the follow-up Obumbratta was just as good. Here we have their Dynamic Techno Remix featuring proto-gabber beats and production quality that is leaps and bounds above nearly everything else on Radikal Techno - it really does sound like the apocalypse is nigh as the Gates Of Hell are opened. WestBam’s Mayday Anthem, a track written for the Mayday party, is a fun piece of riff-tastic techno, while Razormaid adds sinister grumbling basslines to Die Schwarze Zone from LDC, an EBM-inspired project from euro-house legend Torsten Fenslau. And speaking of old house legends and rumbling basslines, StoneBridge shows up to remix the oldie house-gem Take Me Higher from Hysteria. Quite possibly amongst the oddest tracks is Ave Maria from the anonymous Noys, whom sampled the climax of Strauss’ Blue Danube, looped it, added some beats, and then dive off into a nifty piece of techno in its own right (that bassline... damn, but are there ever some kick-ass basslines on this compilation!); it screams one-off novelty, yet somehow works in spite of itself.
Unfortunately, Radikal Techno also finds one of the more abysmal novelty trends to be found in early ‘90s rave, the cringe-worthy ‘toytown’ phase. Here, we have Raving On Sesame Street, which is so hopelessly lame, this was about the only place you could find the track (according to Discogs, anyway). Thankfully, it’s placed at the end of the CD, and can simply be forgotten it even exists.
The remaining tracks mostly amount to rip-offs (Dance Your Ass Off is practically James Brown Is Dead) or style-biting (big-riff techno in the case of Stylophonia, hoover-house in the case of Life At Wunderbar, and anthemic hip-house with The Nervous Zone). None of them are essential but they do help round out the compilation with filler that won’t have you reaching for the skip button.
As an interesting aside, Canadian DJ Chris Sheppard helped compile this release; however, this is in his pre-fame days when he was just starting to expose all that crazy rave music from Europe to Canadians. As such, he only has a token “Compiled by” credit near the copyright alongside Quality’s frequent dance compiler Markus Klinke. As evidenced by his track selection here, Sheppard definitely had an ear for the underground, and this release confirms it was a shame Shep’ was lost to the mainstream soon after.
Anyhow, Radikal Techno is the kind of compilation that you just might find sitting in a used shop (probably Canadian). Considering the quality and scarcity of a number of these tracks and remixes, it makes this CD quite the bargain for anyone who fancies the old school. Don’t miss out.
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved
(2015 Update:
"Objective straight-faced criticism"? What does that even mean? And, oh-ho-ho, shame on you, 2008 Sykonee, for even suggesting every review you wrote was truly objective. I'd tried toeing the 'hard but fair' line most of the time, but there were plenty instances of throwing any supposed objectivity out the window in favor of a long-winded rant or gush. Ah well, at least I get to wear all my biases in plain view for this blog, and not rely on lengthy opening paragraphs explaining away such changes in writing tone.
There's two things I neglected mentioning regarding the Radikal Techno series that I may as well bring up now. 1. The name comes from the record label that released most of these tunes, Radikal Records, a New Jersey print that specialized in commercial dance singles from Europe - Quality Music handled their Canadian distribution, hence why I've so many of their CDs. 2. Radikal Techno actually lasted for a good decade, reaching a sixth edition featuring the likes of ATB, Cosmic Gate, and Brooklyn Bounce. Of course, by that time, Quality Music had long-since folded, so it was a case of Radikal Records using the name of a compilation series promoting their material created by another label. And I've gone cross-eyed.)
IN BRIEF: They don’t make ‘em like this anymore.
I tried. Really, I did. As much as I’d love to dive into this Random Review with all the objective straight-faced criticism I approach any other release, the history I personally have with this compilation makes it incredibly difficult. You see, my friends, this simple little release titled Radikal Techno is the second CD I ever owned. It’s survived accidents, theft during parties, drunken vandalism during parties, transportation from a number of different homes, and desperate pawn-shop plundering during periods of destitution, yet has remained in remarkable condition during it all.
“So what?” you say. “It’s just an old CD with a bunch of early 90s techno on it; not like it’s some rare original 7" Cybotron record.” True, but as anyone who has had a habit of coddling their music for years can attest to, such nurturing inhibits objective perspectives of the actual material on display.
Fact is, I still enjoy Radikal Techno. Yes, some of the production is hopelessly dated (there are frequent uses of the oh-so cutting edge Stereo-Pan Effect). Yes, some of the crappier trends in techno of the early ‘90s are present. And yes, I completely agree my continued enjoyment of this CD could simply be attributed to fuzzy warm nostalgia. Yet nor could I pass this off to an associate of mine to get their objective opinions of it because pretty much everyone I know quite enjoys the old school. And shouldn’t that be enough to convince you, the reader, that Radikal Techno has more going for it than starry-eyed trips down memory lane? Just look at some of these cuts!
For sure, there are overly familiar names here: 2 Unlimited, Age Of Love, Human Resource, Joey Beltram... and that’s just what anyone with basic background of electronic music should recognize. However, with the exception of Age Of Love, where Jam & Spoon’s remix would go on to see endless compilation duty in the years to come (I don’t think anyone in ‘92 could have predicted that), Radikal Techno offers some true rarities from them. The Two Little Boys remix of Twilight Zone plays around with those famous hooks, providing a funkier spin for the underground to appreciate. Rush To The Rhythm, a track featuring super-fast breaks, raps, and cut’n’paste production, is one of Beltram’s more obscure releases. And Glitch’s long-forgotten remix of Dominator is stellar, bringing blistering techno beats to this hoover anthem, spiking it with intensity benefitting of thrash metal throughout.
Elsewhere on this tracklist are a bunch of tunes that were quite popular ‘back in the day’ and, although mostly forgotten now, hold up remarkably well. Everyone knows Apotheosis’ O Fortuna, but the follow-up Obumbratta was just as good. Here we have their Dynamic Techno Remix featuring proto-gabber beats and production quality that is leaps and bounds above nearly everything else on Radikal Techno - it really does sound like the apocalypse is nigh as the Gates Of Hell are opened. WestBam’s Mayday Anthem, a track written for the Mayday party, is a fun piece of riff-tastic techno, while Razormaid adds sinister grumbling basslines to Die Schwarze Zone from LDC, an EBM-inspired project from euro-house legend Torsten Fenslau. And speaking of old house legends and rumbling basslines, StoneBridge shows up to remix the oldie house-gem Take Me Higher from Hysteria. Quite possibly amongst the oddest tracks is Ave Maria from the anonymous Noys, whom sampled the climax of Strauss’ Blue Danube, looped it, added some beats, and then dive off into a nifty piece of techno in its own right (that bassline... damn, but are there ever some kick-ass basslines on this compilation!); it screams one-off novelty, yet somehow works in spite of itself.
Unfortunately, Radikal Techno also finds one of the more abysmal novelty trends to be found in early ‘90s rave, the cringe-worthy ‘toytown’ phase. Here, we have Raving On Sesame Street, which is so hopelessly lame, this was about the only place you could find the track (according to Discogs, anyway). Thankfully, it’s placed at the end of the CD, and can simply be forgotten it even exists.
The remaining tracks mostly amount to rip-offs (Dance Your Ass Off is practically James Brown Is Dead) or style-biting (big-riff techno in the case of Stylophonia, hoover-house in the case of Life At Wunderbar, and anthemic hip-house with The Nervous Zone). None of them are essential but they do help round out the compilation with filler that won’t have you reaching for the skip button.
As an interesting aside, Canadian DJ Chris Sheppard helped compile this release; however, this is in his pre-fame days when he was just starting to expose all that crazy rave music from Europe to Canadians. As such, he only has a token “Compiled by” credit near the copyright alongside Quality’s frequent dance compiler Markus Klinke. As evidenced by his track selection here, Sheppard definitely had an ear for the underground, and this release confirms it was a shame Shep’ was lost to the mainstream soon after.
Anyhow, Radikal Techno is the kind of compilation that you just might find sitting in a used shop (probably Canadian). Considering the quality and scarcity of a number of these tracks and remixes, it makes this CD quite the bargain for anyone who fancies the old school. Don’t miss out.
Written by Sykonee for TranceCritic.com, 2008. © All rights reserved
Thursday, February 5, 2015
AstroPilot - Iriy
Altar Records: 2014
Mythologies and ancient mysticisms of the world, you ask? Oh, are they ever plentiful and famous: Babylonian, Egyptian, Greek, Hindu, Abrahamic, and plenty more have served as inspiration for the arts and culture, especially when re-contextualized with contemporary fashions. The Slavic States, however, don’t get as much love with modern audiences, content in letting the ‘gypsy lifestyle’ be their one defining historical trait. Not even Deep Forest, at the height of their commercial clout, swayed the public to the sounds of Eastern European traditionalism. Fortunately for AstroPilot, he caters to an audience a little more open to such ideas, despite many remaining stuck in their love of many things derived from the shores of Goa; he’s already explored that though (you’re kinda’ obligated to if you dabble in psy chill/dub/prog/trance/zydeco). Still, Mr. Redko’s muse remains ever restless, and for his eighth LP in as many years (!), he released Iriy, an album drawing plenty of influence from Eastern European folklore.
What is an Iriy, you ask? To save you the Wiki trip, it’s essentially a sort of ‘paradise’, like Eden or Shambhala, though based on Russian mythology. Tracks within this album include titles like Svarog’s Morning (Slavic god of celestial fire), Makosh (Slavic goddess of life cycles and fertility), Gamayun (a prophetic bird connected to Iriy), and Back To Midgard-Earth. Okay, that last one’s technically Norse, but seeing as how the Slavic States are situated in the middle of civilized Euro-Asia, one could call the region ‘Middle Earth’ too, if you’re willing to stretch your folklore to the extreme. Wait, I’m supposed to review music here, not conduct mythology lectures.
Honestly, all this comes off as window-dressing where AstroPilot goes in this album. Iriy is essentially another collection of ultra-lush prog-psy and wide-screen chill-out from the Siberian native, no real musical theme tying it together other than that. If there are sonic nods to Slavic traditionalism within, it’s very minimal (or I’m just too Canadianized to recognize it). The places and names in these titles could just as easily be a wholly created fantastical realm, but I cannot deny it was a cool trick on AstroPilot’s part in opening my eyes to an overlooked segment of humanity’s bountiful culture. Also, it doesn’t hurt having such a unique context for these tunes - The Last Night Of Svarog’s groovy trance pulse and layered synth drones carries more emotional heft if you picture the dying embers of a celestial fire deity along with it.
Iriy’s a no-brainer of a pick-up if you’ve got an itch for more prog-psy in your diet. AstroPilot’s been in a remarkable zone of quality for years now, this album further cementing an already praise-worthy career. Damn, am I in hyperbolic mode now because of this? Fine, here’s a criticism: most of these tunes stick to a very similar, lengthy prog-psy structure (ambient intro, gradual build, etc.), lending to a rather repetitive trip throughout. With scenery this gorgeous though, who gives a hoot of a svirel?
Mythologies and ancient mysticisms of the world, you ask? Oh, are they ever plentiful and famous: Babylonian, Egyptian, Greek, Hindu, Abrahamic, and plenty more have served as inspiration for the arts and culture, especially when re-contextualized with contemporary fashions. The Slavic States, however, don’t get as much love with modern audiences, content in letting the ‘gypsy lifestyle’ be their one defining historical trait. Not even Deep Forest, at the height of their commercial clout, swayed the public to the sounds of Eastern European traditionalism. Fortunately for AstroPilot, he caters to an audience a little more open to such ideas, despite many remaining stuck in their love of many things derived from the shores of Goa; he’s already explored that though (you’re kinda’ obligated to if you dabble in psy chill/dub/prog/trance/zydeco). Still, Mr. Redko’s muse remains ever restless, and for his eighth LP in as many years (!), he released Iriy, an album drawing plenty of influence from Eastern European folklore.
What is an Iriy, you ask? To save you the Wiki trip, it’s essentially a sort of ‘paradise’, like Eden or Shambhala, though based on Russian mythology. Tracks within this album include titles like Svarog’s Morning (Slavic god of celestial fire), Makosh (Slavic goddess of life cycles and fertility), Gamayun (a prophetic bird connected to Iriy), and Back To Midgard-Earth. Okay, that last one’s technically Norse, but seeing as how the Slavic States are situated in the middle of civilized Euro-Asia, one could call the region ‘Middle Earth’ too, if you’re willing to stretch your folklore to the extreme. Wait, I’m supposed to review music here, not conduct mythology lectures.
Honestly, all this comes off as window-dressing where AstroPilot goes in this album. Iriy is essentially another collection of ultra-lush prog-psy and wide-screen chill-out from the Siberian native, no real musical theme tying it together other than that. If there are sonic nods to Slavic traditionalism within, it’s very minimal (or I’m just too Canadianized to recognize it). The places and names in these titles could just as easily be a wholly created fantastical realm, but I cannot deny it was a cool trick on AstroPilot’s part in opening my eyes to an overlooked segment of humanity’s bountiful culture. Also, it doesn’t hurt having such a unique context for these tunes - The Last Night Of Svarog’s groovy trance pulse and layered synth drones carries more emotional heft if you picture the dying embers of a celestial fire deity along with it.
Iriy’s a no-brainer of a pick-up if you’ve got an itch for more prog-psy in your diet. AstroPilot’s been in a remarkable zone of quality for years now, this album further cementing an already praise-worthy career. Damn, am I in hyperbolic mode now because of this? Fine, here’s a criticism: most of these tunes stick to a very similar, lengthy prog-psy structure (ambient intro, gradual build, etc.), lending to a rather repetitive trip throughout. With scenery this gorgeous though, who gives a hoot of a svirel?
Labels:
2014,
album,
Altar Records,
AstroPilot,
prog psy,
psy chill
Wednesday, February 4, 2015
Androcell - Imbue
Altar Records: 2014
I’ve said it before, but it’s been a long time since I last said it. When was it, the last Androcell review? Whatever, here’s what I’m repeating: I’ve been spoiled by great music. No, I don’t go into every LP demanding nothing less than a 12.2/10, but it has created certain expectations upon certain artists. They are by no means obligated to meet the whims of a single West Coast Canadian – musicians do as they mean to do – but when I hear the highs some have achieved, it's all too common coming away from new material underwhelmed if they don't reach those peaks again. All this, of course, is just wishy-washy reasoning for why Tyler Smith's latest LP doesn't do it for me the way I hoped it could, even though there's nothing fundamentally poor about it.
No, this isn't yet another case of me bemoaning the lack of a follow-up in his Distant System moniker. He'll get around to that whenever he wants to, and if Mr. Smith is feeling the psy-dub flow more than the space-dub, that's his call. Though, I have to wonder, is he hesitating on Distant System due to conceived pressure? Lord knows I’ve hyped Spiral Empire to the high moons of Jupiter, but I’m just a single West Coast Canadian. Then again, I know a number of folks who hope for a follow-up. It may not receive the ridiculous anticipation of, say, The Bug’s Angels & Demons, but for those in the know, we’re jonsing something fierce here, mang.
Sorry, there I go again. Okay, focus. Androcell, new album, Imbue. This comes care of Altar Records, the psy-chill label out of Quebec that’s gaining itself a reputation as an outlet on par with Ultimae Records. I don’t know if they’re quite there yet, but having AstroPilot as one of your featured artists sure doesn’t hurt. Asura’s popped up on there too, and now Altar’s added Androcell to their ranks – gotta’ have that Shpongle inspired psy-dub stylee in there somewhere, right?
And Imbue is a perfectly fine psy-dub album. The rhythms are wordly and funky, the psychedelia is tasteful and never over-indulgent and everything flows as though you’re hearing these tunes jammed live. Though ol’ Tyler doesn’t offer any sounds psy-dub veterans won’t have heard before, his sense of song craft and musical progression remains top-notch, always throwing in little twists and turns holding your attention throughout the album’s run-through. A solid effort, all said.
Wait, if that’s true, then why the apologetic opening paragraph? Unfortunately, I’m not getting the same sense of imagery or journey as his prior work. The Distant System stuff is obvious, and even the last Androcell album had me feeling like I was out traversing ancient, mystical roads and that. Nothing comparable goes down with Imbue, unless one considers a jolly ol’ flailing time at an outdoor psychedelic party good enough. Fair enough if so, and I hope I shake this spoiled attitude towards Mr. Smith’s music too.
I’ve said it before, but it’s been a long time since I last said it. When was it, the last Androcell review? Whatever, here’s what I’m repeating: I’ve been spoiled by great music. No, I don’t go into every LP demanding nothing less than a 12.2/10, but it has created certain expectations upon certain artists. They are by no means obligated to meet the whims of a single West Coast Canadian – musicians do as they mean to do – but when I hear the highs some have achieved, it's all too common coming away from new material underwhelmed if they don't reach those peaks again. All this, of course, is just wishy-washy reasoning for why Tyler Smith's latest LP doesn't do it for me the way I hoped it could, even though there's nothing fundamentally poor about it.
No, this isn't yet another case of me bemoaning the lack of a follow-up in his Distant System moniker. He'll get around to that whenever he wants to, and if Mr. Smith is feeling the psy-dub flow more than the space-dub, that's his call. Though, I have to wonder, is he hesitating on Distant System due to conceived pressure? Lord knows I’ve hyped Spiral Empire to the high moons of Jupiter, but I’m just a single West Coast Canadian. Then again, I know a number of folks who hope for a follow-up. It may not receive the ridiculous anticipation of, say, The Bug’s Angels & Demons, but for those in the know, we’re jonsing something fierce here, mang.
Sorry, there I go again. Okay, focus. Androcell, new album, Imbue. This comes care of Altar Records, the psy-chill label out of Quebec that’s gaining itself a reputation as an outlet on par with Ultimae Records. I don’t know if they’re quite there yet, but having AstroPilot as one of your featured artists sure doesn’t hurt. Asura’s popped up on there too, and now Altar’s added Androcell to their ranks – gotta’ have that Shpongle inspired psy-dub stylee in there somewhere, right?
And Imbue is a perfectly fine psy-dub album. The rhythms are wordly and funky, the psychedelia is tasteful and never over-indulgent and everything flows as though you’re hearing these tunes jammed live. Though ol’ Tyler doesn’t offer any sounds psy-dub veterans won’t have heard before, his sense of song craft and musical progression remains top-notch, always throwing in little twists and turns holding your attention throughout the album’s run-through. A solid effort, all said.
Wait, if that’s true, then why the apologetic opening paragraph? Unfortunately, I’m not getting the same sense of imagery or journey as his prior work. The Distant System stuff is obvious, and even the last Androcell album had me feeling like I was out traversing ancient, mystical roads and that. Nothing comparable goes down with Imbue, unless one considers a jolly ol’ flailing time at an outdoor psychedelic party good enough. Fair enough if so, and I hope I shake this spoiled attitude towards Mr. Smith’s music too.
Labels:
2014,
album,
Altar Records,
Androcell,
psy dub,
world beat
Tuesday, February 3, 2015
Various - Dub Selector 2
Quango Records: 2002
Quango's '90s compilations had several sequels to their names, but when the label relaunched at the turn of the millennium, only Dub Selector managed second and third entries. There are two strong possibilities for this. One, it garnered enough sales to warrant sequels, though it seems odd that only this one did (no love for Afrotech or Cosmic Funk in this world?). Two, Quango head Bruno Guez knew he couldn't hope to give the wide world of dub music its full due in a single CD serving. Heck, remember that Bug fella's attempt with Virgin? He resorted to two discs worth for the first volume of Macro Dub Infection, and even that only scratched the surface. So, for all intents, Mr. Guez intended for another showcase of dub music, but of a different style compared to what was featured on the first volume. It would explain the omission of Jamaican roots artists in favour of European producers – they were being saved for this compilation.
If you guessed the second option, you're slightly wrong, though you wouldn't know it without a glance at the track list. Dub Selector 2 is still very Euro-centric in who's behind the consoles, including a few of the same acts showing up. Boozoo Bajou returns, G-Corp returns (this time as their old name, Groove Corporation), Grant Phabao returns, and Noiseshaper returns with their one track Quango just couldn't stop promoting. High-profile acts new to the series here include Thievery Corporation (what's with all these dub corporations?), Nick Holder, and that Dorfmeister guy so many downtempo producers were influenced by. Rounding things out are names like Stereotyp, Scientist, and The Butch Cassidy Sound System, again all European. So it goes with Dub Selector I guess.
Any-however, we get plenty of proper reggae flavour up in this dancehall too, even if it comes in remixed form most of the time. Big Youth, Paul St. Hilaire (aka: Tikiman), and Cutty Ranks make the cut, and unlike the remixed acts of the previous volume, these are presented as authentic Jamaican jams as you'll find. Put another way, I have hardly a clue what ‘d’em rude b’wans’ are going on about, but damn if it isn't wicked-cool hearing their toasting to bouncy roots rhythms and shoulder-shufflin' basslines.
Whether you'll stumble upon any of these Dub Selectors, I haven't a clue, but should these two reviews intrigued you enough to pick up just one (??), I suggest nabbing volume 2 for yourself. The first edition comes off all too safe for a downtempo dub collection, which is fine if you're only just dipping your toes into those warm waters. Isn't it better to challenge that palette of yours every so often though? This CD should do that, honouring the roots of roots music far more than the previous disc. Eh? Dub Selector 3? I don't have that one, though at a glance, holy cow, are there ever a lot of large bands on it. Maybe that one goes proper-proper reggae dub, then?
Quango's '90s compilations had several sequels to their names, but when the label relaunched at the turn of the millennium, only Dub Selector managed second and third entries. There are two strong possibilities for this. One, it garnered enough sales to warrant sequels, though it seems odd that only this one did (no love for Afrotech or Cosmic Funk in this world?). Two, Quango head Bruno Guez knew he couldn't hope to give the wide world of dub music its full due in a single CD serving. Heck, remember that Bug fella's attempt with Virgin? He resorted to two discs worth for the first volume of Macro Dub Infection, and even that only scratched the surface. So, for all intents, Mr. Guez intended for another showcase of dub music, but of a different style compared to what was featured on the first volume. It would explain the omission of Jamaican roots artists in favour of European producers – they were being saved for this compilation.
If you guessed the second option, you're slightly wrong, though you wouldn't know it without a glance at the track list. Dub Selector 2 is still very Euro-centric in who's behind the consoles, including a few of the same acts showing up. Boozoo Bajou returns, G-Corp returns (this time as their old name, Groove Corporation), Grant Phabao returns, and Noiseshaper returns with their one track Quango just couldn't stop promoting. High-profile acts new to the series here include Thievery Corporation (what's with all these dub corporations?), Nick Holder, and that Dorfmeister guy so many downtempo producers were influenced by. Rounding things out are names like Stereotyp, Scientist, and The Butch Cassidy Sound System, again all European. So it goes with Dub Selector I guess.
Any-however, we get plenty of proper reggae flavour up in this dancehall too, even if it comes in remixed form most of the time. Big Youth, Paul St. Hilaire (aka: Tikiman), and Cutty Ranks make the cut, and unlike the remixed acts of the previous volume, these are presented as authentic Jamaican jams as you'll find. Put another way, I have hardly a clue what ‘d’em rude b’wans’ are going on about, but damn if it isn't wicked-cool hearing their toasting to bouncy roots rhythms and shoulder-shufflin' basslines.
Whether you'll stumble upon any of these Dub Selectors, I haven't a clue, but should these two reviews intrigued you enough to pick up just one (??), I suggest nabbing volume 2 for yourself. The first edition comes off all too safe for a downtempo dub collection, which is fine if you're only just dipping your toes into those warm waters. Isn't it better to challenge that palette of yours every so often though? This CD should do that, honouring the roots of roots music far more than the previous disc. Eh? Dub Selector 3? I don't have that one, though at a glance, holy cow, are there ever a lot of large bands on it. Maybe that one goes proper-proper reggae dub, then?
Sunday, February 1, 2015
ACE TRACKS: January 2015
What a bizarre month. There’s been a few in the past where one or two styles of music dominated a playlist, but never in the way this one turned out. Hope you like a lot of hip-hop. Wait, you do? Well, cool, but I hope you enjoy a bunch of psy-trance mixed in with that. Wait, you do? Who are you, some kind of weirdo? Oh, wait, that’s just my reflection in the monitor. Looks like a bit of yolk dripping off my nose at that. Well, here’s the ACE TRACKS of January 2015 in any event:
Full Track List Here.
MISSING ALBUMS:
John ‘00’ Fleming - Psy-Trance Euphoria 2
Various - Psychedelic Goa Trance
Psychick Warriors Ov Gaia - Psychick Rhythms Vol. 1
Various - Psychotrance 2001: D:Fuse
Various - Cosmic Funk
Various - Dub Selector
Amon Tobin - Piranha Breaks
Percentage Of Hip-Hop: 25%
Percentage Of Rock : 10%
Most “WTF?” Track: The Statler Brothers - Flowers On The Wall (for its glorious ‘movie moment’, though it’s certainly an odd one here too)
You know who makes for surprisingly good bed fellows? Early Burial and early Nine Inch Nails! Or maybe in a playlist fighting for space in the crowds of Wu-Tang Clan and French psychedelia, they found common ground, comfort in their outsider status. But yeah, with a few extra inclusions of lengthy Neil Young rock and borderline EBM, this is a weird assortment of tunes. Whatever happened to the regular ol’ house and techno, eh? This playlist should be a hoot if you’re daring to wander outside those comfort zones.
Full Track List Here.
MISSING ALBUMS:
John ‘00’ Fleming - Psy-Trance Euphoria 2
Various - Psychedelic Goa Trance
Psychick Warriors Ov Gaia - Psychick Rhythms Vol. 1
Various - Psychotrance 2001: D:Fuse
Various - Cosmic Funk
Various - Dub Selector
Amon Tobin - Piranha Breaks
Percentage Of Hip-Hop: 25%
Percentage Of Rock : 10%
Most “WTF?” Track: The Statler Brothers - Flowers On The Wall (for its glorious ‘movie moment’, though it’s certainly an odd one here too)
You know who makes for surprisingly good bed fellows? Early Burial and early Nine Inch Nails! Or maybe in a playlist fighting for space in the crowds of Wu-Tang Clan and French psychedelia, they found common ground, comfort in their outsider status. But yeah, with a few extra inclusions of lengthy Neil Young rock and borderline EBM, this is a weird assortment of tunes. Whatever happened to the regular ol’ house and techno, eh? This playlist should be a hoot if you’re daring to wander outside those comfort zones.
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10 Records
16 Bit Lolita's
1963
1965
1966
1967
1968
1969
1970
1971
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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
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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 MontanÃ
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
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