Altar Records: 2015
We now return to Altar Records' current running compilation series, The Seasons! But wait, three of you cry, how can we be doing Fall already, when there's still a Summer CD out there? Did I not get that one too for continuity's sake? I did indeed, but even continuity must give way to arbitrary blogging rules. Both were acquired during that long-ass trip through the latter half of 'S' albums, which technically put Summer into the backlog queue. And now alphabetical stipulation states that Fall must come before Summer, despite making none of the thematic sense. Yeah, I could have just lumped Summer in with all those other 'S' CDs, but if I can't honor my own rules, what honor can I give in life? What price is my honor? (twenty bucks American, cold hard cash)
I can't say I was waiting with bated, chilly breath for this one though. Spring was cool, and Summer was fun (spoiler!). In the end though, it's still Altar Records we're dealing with, and if my sojourn through their Elements series proved anything, it's that headmaster DJ Zen maintains a consistent style with the artists he taps. Even glancing at the track list once again finds plenty of familiar names from the Altar roster: AstroPilot, Alwoods, E-Mantra, Astral Waves, Asura, Terra Nine, Tentura, Cabeiri, and so on. I approve of all this, of course, but picking up Altar compilations has quickly become a case of comforting familiarity, a high standard of prog psy and psy chill with very few surprises along the way. As it goes with most genre niche labels anyway.
And I'm repeating my Altar Records caveat again, aren’t I. And the only reason I could possibly be providing such redundant information at this point is pretext, a set-up for a... 'fall' of expectations! Eh? Eh? Come on, give it up, don't leave me hangin'. Alright...
So the surprise with Fall comes with how much raw acid there is on this CD. The first few tracks don’t hint at such a turn; Cabeiri, Alwoods, and E-Mantra (plus bonus Tentura on the digital version) doing as Altar typically does. Mindphoria (aka: Mindsphere; aka: Ali Akgun) then does the unexpected in starting his track (also called Fall) with some pleasant classical piano diddling. Huh. Then a funky acid bassline comes in with a New Beat groove and are we still listening to an Altar compilation? There’s some spacey zaps and synths, but the focus soon turns to chunky old-school goa acid, as does next track Stay In Meditation from Azriel. I’d expect such sounds from bonus track Farewell, Beloved Sunshine, since that’s Khetzal’s schtick, but even AstroPilot and Astral Waves gets in on that acid with their collaboration Inflation Eternelle. Meanwhile, third bonus The Heart Of The Matter from Terra Nine has me feeling the ancient System 7 mojo, and closer Rise Of The Earth Keepers from Innerself goes full New Age sap. Ack, a trip within Fall. Nonetheless, a surprising, solid compilation.
Saturday, January 16, 2016
Friday, January 15, 2016
ACE TRACKS: November 2012
We’re nearly at the end of these back-tracking ACE TRACKS Playlists. It’s weird realizing that the music I was playing and reviews I was writing was done over three years ago now, enough time that I’m actually having faded recollection of the month. Like, as though it was a distant part of my past, not unlike my TranceCritic writing days. The music I was covering seems so innocent too, still going through my old collection of trusty favorites and stand-bys, having no clue of the splurging I’d undertake that’d bloat out my library to the four digit realm. About a dozen CDs have since been added within this block alone, and that’s just narrowly missing out that Pete Namlook tribute box set. Back then I had no idea labels like Silent Season, Altar, or Psychonavigation even existed! That November also marked the point I realized I could keep writing at a near-daily clip, though with a signficant chunk being some of my all-time favorite albums, it’s not surprising I was feeling the mojo then. It’s also a big ol’ ACE TRACKS Playlist, so let’s get to ‘er.
Full track list here.
MISSING ALBUMS:
Pete Namlook - The Definitive Ambient Collection: Volume 2
Deep Forest - Deep Forest
Dillinja - Cybotron
Djen Ajakan Shean - Crows Heading For Point Break
Roc Raida - Crossfaderz: A Turntablist’s Throwdown!!
Quadrophonia - Cozmic Jam
Percentage Of Hip-Hop: 12%
Percentage Of Rock: 19%
Most “WTF?” Track: Fear Factory - Pisschrist (that title, tho’!)
Full albums from Future Sound Of London, Pink Floyd, and Spicelab are a must. A bunch of Fear Factory, a pile of progressive trance, a little techno, psy, and world beat thrown in for good measure. Oh, and that last little bit of Bone Thugs working its way in too. Man, did I ever look like the Bone Thugs fanboy in those early months. Little did anyone know my hip-hop allegiance lay with the Wu-Tang Clan (plus whatever Del was up to). All in all, this is a fun, varied month’s worth of music, another reason why I likely sped through those CDs so fast. Couldn’t wait to hear the next one again!
Full track list here.
MISSING ALBUMS:
Pete Namlook - The Definitive Ambient Collection: Volume 2
Deep Forest - Deep Forest
Dillinja - Cybotron
Djen Ajakan Shean - Crows Heading For Point Break
Roc Raida - Crossfaderz: A Turntablist’s Throwdown!!
Quadrophonia - Cozmic Jam
Percentage Of Hip-Hop: 12%
Percentage Of Rock: 19%
Most “WTF?” Track: Fear Factory - Pisschrist (that title, tho’!)
Full albums from Future Sound Of London, Pink Floyd, and Spicelab are a must. A bunch of Fear Factory, a pile of progressive trance, a little techno, psy, and world beat thrown in for good measure. Oh, and that last little bit of Bone Thugs working its way in too. Man, did I ever look like the Bone Thugs fanboy in those early months. Little did anyone know my hip-hop allegiance lay with the Wu-Tang Clan (plus whatever Del was up to). All in all, this is a fun, varied month’s worth of music, another reason why I likely sped through those CDs so fast. Couldn’t wait to hear the next one again!
Thursday, January 14, 2016
AuroraX - Evolutionary Voyage
Altar Records: 2015
Thank God, Vishnu, Clupxtergh, and sanity that Lord Discogs isn't the only source of data on some artists. If that were the case, I'd be hooped on the bare-bones entry for AuroraX, his lone entry being this new album on Altar Records. Maybe he has contributed tracks to a digital compilation or four, but unless such labels have dedicated chroniclers submitting releases to the Lord That Knows All, Discogs couldn't give much of a care. This is especially troubling for musicians who've been making their name with Soundcloud, a streaming format that goes unrecognized by Discogs as anything official. And for good reason too, as any ol' chap or chappette could upload something and claim it worthy of the Lord's attention. We need some barriers to His Domain, some standards and practices implemented. Hard copies, yes. Soft copies, maybe. Edible copies, definitely not.
AuroraX has been building his base through Soundcloud, but I don’t bother with that site anymore, so I’m out of the loop there. Lord Discogs provided a Facebook link through an ‘alias’, Desislav Georgiev, but it’s all in Eastern bloc typeface so not much help there either. Fortunately, the Bandcamp page for Evolutionary Voyage has proven somewhat helpful. AuroraX hails from Bulgaria, and his real name is (surprise) Desislav Georgiev. The rest of the blurb goes into some hilariously over-the-top descriptions for his music, capping off with “AuroraX brings a fresh perspective to the meaning of universal consciousness.” Ugh, that’s a bit much for my bullshit detector to take, but I must have bought what the PR was selling, because I’ve obviously bought the CD as well.
I honestly didn’t know what I was getting with Evolutionary Voyage. Some idea, sure; this is Altar Records we’re dealing with, and they’ve cultivated quite the catalogue of psy-leaning music. Whether this album was prog-psy or psy-chill or space ambient though, I hadn’t a clue. I kinda’ figured something like AstroPilot, and I was right. In fact, I was correct about any other guess I could have made too, because for plus and minus, this sounds very much like an Altar Records album.
AuroraX is a fine producer, of that there’s no doubt, and quite mesmerizing in his compositions with tracks evolving and morphing as they play out. Sometimes they do the slow prog thing (Anima’s Dream, Navigations, Inner), other tracks will gradually build into a brisk pace (Project Voyager, Spatial Contemplation, Stars And Rising Tides), and the remaining two opt for pure psy-chill space bliss (Tales Of The Particles, Lifetime Satellite). Yeah, only eight tracks on here, but there’s plenty going on in them to get your Altar staples fix. I just wish I could recommend this as something more than that.
My only criticism is I didn’t hear a clear style I’d identify as AuroraX’ own, Evolutionary Voyage coming off like an amalgamation of other artists on this label. Maybe he just needs some more development, but if not, it’s not so bad being the Altar Voltron.
Thank God, Vishnu, Clupxtergh, and sanity that Lord Discogs isn't the only source of data on some artists. If that were the case, I'd be hooped on the bare-bones entry for AuroraX, his lone entry being this new album on Altar Records. Maybe he has contributed tracks to a digital compilation or four, but unless such labels have dedicated chroniclers submitting releases to the Lord That Knows All, Discogs couldn't give much of a care. This is especially troubling for musicians who've been making their name with Soundcloud, a streaming format that goes unrecognized by Discogs as anything official. And for good reason too, as any ol' chap or chappette could upload something and claim it worthy of the Lord's attention. We need some barriers to His Domain, some standards and practices implemented. Hard copies, yes. Soft copies, maybe. Edible copies, definitely not.
AuroraX has been building his base through Soundcloud, but I don’t bother with that site anymore, so I’m out of the loop there. Lord Discogs provided a Facebook link through an ‘alias’, Desislav Georgiev, but it’s all in Eastern bloc typeface so not much help there either. Fortunately, the Bandcamp page for Evolutionary Voyage has proven somewhat helpful. AuroraX hails from Bulgaria, and his real name is (surprise) Desislav Georgiev. The rest of the blurb goes into some hilariously over-the-top descriptions for his music, capping off with “AuroraX brings a fresh perspective to the meaning of universal consciousness.” Ugh, that’s a bit much for my bullshit detector to take, but I must have bought what the PR was selling, because I’ve obviously bought the CD as well.
I honestly didn’t know what I was getting with Evolutionary Voyage. Some idea, sure; this is Altar Records we’re dealing with, and they’ve cultivated quite the catalogue of psy-leaning music. Whether this album was prog-psy or psy-chill or space ambient though, I hadn’t a clue. I kinda’ figured something like AstroPilot, and I was right. In fact, I was correct about any other guess I could have made too, because for plus and minus, this sounds very much like an Altar Records album.
AuroraX is a fine producer, of that there’s no doubt, and quite mesmerizing in his compositions with tracks evolving and morphing as they play out. Sometimes they do the slow prog thing (Anima’s Dream, Navigations, Inner), other tracks will gradually build into a brisk pace (Project Voyager, Spatial Contemplation, Stars And Rising Tides), and the remaining two opt for pure psy-chill space bliss (Tales Of The Particles, Lifetime Satellite). Yeah, only eight tracks on here, but there’s plenty going on in them to get your Altar staples fix. I just wish I could recommend this as something more than that.
My only criticism is I didn’t hear a clear style I’d identify as AuroraX’ own, Evolutionary Voyage coming off like an amalgamation of other artists on this label. Maybe he just needs some more development, but if not, it’s not so bad being the Altar Voltron.
Tuesday, January 12, 2016
King Midas Sound, Fennesz - Edition 1
Ninja Tune: 2015
It took The Bug several years to release new music after his critical smash, London Zoo, but the man behind The Bug, Kevin Martin, did keep busy with other projects. Feeling the itch for something with a little more soul, he hooked up with downtempo jazz crooner Roger Robinson to form King Midas Sound. The resulting album, Waiting For You..., provided a fresh spin on urban soul, mixing The Bug’s grit with a traditionally smooth style of music. Throw in a few additional vocals from dubstep vocalist Kiki Hitomi, and you’ve got something akin to a Massive Attack record for the grime generation. Then the project went on hiatus, Mr. Martin’s time consumed by touring, not to mention the pressure of doing that eventual London Zoo follow-up.
Well, that’s all done and dusted now, so ol’ Kevin got to reconvene with Mr. Robinson for another kick at the King Midas can. Instead of simply retreading their first album though, they wanted to push their concept of dub ‘n’ soul as far as they could, to creatively challenge themselves as well as the expectations of their audiences. Thus, the Editions series, where the duo invites a like-minded producer into the studio for a session and sees what come may. Mr. Martin states he has four such albums planned, but kicking this off is guitar fuzz and experimental glitch producer Christian Fennesz. You might remember him such albums like Hotel Paral.lel, Music For An Isolation Tank, AUN – The Beginning And The End Of All Things, plus forty seven degrees 56' 37" minus sixteen degrees 51' 08", and Venice. Yeah, he’s the sort that would have been comfy on Mille Plateaux, if he wasn’t already releasing much of his music on the ‘arty’ label, Touch.
Right from the outset of Edition 1, the Fennesz influence is apparent. Throughout opener Mysteries, droning pulses melt into static dub while Robinson’s vocals float through the fuzz as calm strings glide throughout. Second cut On My Mind finds a beat and Kiki on the vocals, which brings it a little closer to the first Kind Midas Sound album, but there’s still ample ambient static fuzz making it distinct to Fennesz’ style. Third composition Waves goes for a bleak bit of beatless music, moody soul oozing from the edges before morphing into a lengthy stretch of pure wide-screen ambient. Loving Or Leaving is the closest we get to something for the grime heads (trap hi-hats!), and even that’s impossibly cavernous in its dub.
Really, droning ambient dominates much of Edition 1, some tracks like closer Our Love and thirteen-plus minute Above Water forgoing vocals altogether. Even the few remaining tracks that utilize Roger and Kiki treat their words as just another instrument of sonic layering. It makes that second Instrumental CD seem redundant at first glance, though the absence of vocals is apparent in the tracks that did still center on them. Who’d have thought they’re crucial components on an album of thick ambient and soulful dub.
It took The Bug several years to release new music after his critical smash, London Zoo, but the man behind The Bug, Kevin Martin, did keep busy with other projects. Feeling the itch for something with a little more soul, he hooked up with downtempo jazz crooner Roger Robinson to form King Midas Sound. The resulting album, Waiting For You..., provided a fresh spin on urban soul, mixing The Bug’s grit with a traditionally smooth style of music. Throw in a few additional vocals from dubstep vocalist Kiki Hitomi, and you’ve got something akin to a Massive Attack record for the grime generation. Then the project went on hiatus, Mr. Martin’s time consumed by touring, not to mention the pressure of doing that eventual London Zoo follow-up.
Well, that’s all done and dusted now, so ol’ Kevin got to reconvene with Mr. Robinson for another kick at the King Midas can. Instead of simply retreading their first album though, they wanted to push their concept of dub ‘n’ soul as far as they could, to creatively challenge themselves as well as the expectations of their audiences. Thus, the Editions series, where the duo invites a like-minded producer into the studio for a session and sees what come may. Mr. Martin states he has four such albums planned, but kicking this off is guitar fuzz and experimental glitch producer Christian Fennesz. You might remember him such albums like Hotel Paral.lel, Music For An Isolation Tank, AUN – The Beginning And The End Of All Things, plus forty seven degrees 56' 37" minus sixteen degrees 51' 08", and Venice. Yeah, he’s the sort that would have been comfy on Mille Plateaux, if he wasn’t already releasing much of his music on the ‘arty’ label, Touch.
Right from the outset of Edition 1, the Fennesz influence is apparent. Throughout opener Mysteries, droning pulses melt into static dub while Robinson’s vocals float through the fuzz as calm strings glide throughout. Second cut On My Mind finds a beat and Kiki on the vocals, which brings it a little closer to the first Kind Midas Sound album, but there’s still ample ambient static fuzz making it distinct to Fennesz’ style. Third composition Waves goes for a bleak bit of beatless music, moody soul oozing from the edges before morphing into a lengthy stretch of pure wide-screen ambient. Loving Or Leaving is the closest we get to something for the grime heads (trap hi-hats!), and even that’s impossibly cavernous in its dub.
Really, droning ambient dominates much of Edition 1, some tracks like closer Our Love and thirteen-plus minute Above Water forgoing vocals altogether. Even the few remaining tracks that utilize Roger and Kiki treat their words as just another instrument of sonic layering. It makes that second Instrumental CD seem redundant at first glance, though the absence of vocals is apparent in the tracks that did still center on them. Who’d have thought they’re crucial components on an album of thick ambient and soulful dub.
Labels:
2015,
album,
ambient,
downtempo,
drone,
dub,
Fennesz,
King Midas Sound,
Ninja Tune,
soul
Sunday, January 10, 2016
Dr. Octagon - Dr. Octagonecologyst
DreamWorks Records: 1996
The Golden Age Of Hip-Hop was over, and one of the premier groups to usher in that era, Ultramagnetic MC’s, were heading their separate ways. Kool Keith, whom you most definitely know from The Prodigy’s Fat OF The Land, was the likeliest of the group to have a successful solo career, and he’s done that in spades, clubs, and diamond-encrusted hearts. He’s released album after album after album, running through numerous aliases in doing so, and has earned him the reputation of one of the hardest working MC’s of the last two decades. This, despite some serious issues of quality control, especially with a preponderance of crude sex raps that’d make even Luke of 2 Live Crew ask what the cheese. It all had to start somewhere though, and that was with his most critically hailed alias, Dr. Octagon.
While hip-hop’s flush with quirky personas, this one has to rank up there with the most bizarre. See, he’s not some clichéd ‘doctor of lyricism’ or the like; rather, Dr. Octagon is half mad scientist, half time traveling extra-terrestrial (he comes from the planet Jupiter), and half kink scene gynecologist. This provides Keith a setting where horrorcore, nerdcore, and porno raps all cross paths, with an emphasis on tongue-twisting vocabulary that’s equal parts humorous and perverse. When he says he’s gonna’ dissect rectums, treat your chimpanzee acne and moosebumps, and prescribe a treatment of Pepsi cola, Pepto Bismal, bugs, and pop rocks, you can’t be sure if he’s utterly insane, or has fun screwing about the operating room (between sessions of screwing patients in the operating room). Elsewhere, his assistant Uncle Gerbik is a half shark half alligator half man, and over two centuries old. Clearly Dr. Octagonecologyst is an album firmly planted in cheek, probably sewed there with satin threads and rubber needles.
So Kool Keith had something unique going for him here, but what gave Dr. Octagon a quick cult following was the production of Dan The Automator and turntable scratching of DJ Q-Bert (just coming off a string of DMC Championship victories with Mixmaster Mike). Yep, Dr. Octagonecologyst is basically a proto Deltron 3030. Hell, the first track is titled 3000, and sounds like it uses the bleeps from Pierre Henry’s Psyché Rock as a scratch sample among the super-spliffed vibes. Many of the beats are stripped back to a trip-hop haze with old timey French pop loops, serving the macabre tone with a dose of brevity throughout. Man, no wonder Mo Wax wanted in on this.
For all the critical adoration Dr. Octagon generated though, Kook Keith wasn’t the biggest fan of the project, practically ending it right after. He’s actually ‘killed’ the alias multiple times with another persona, Dr. Dooom, and efforts to revitalize him have failed to manifest much of note. Perhaps it’s as it should be, a one-off project that generated underground buzz, but retaining street cred by never overstaying its welcome. Dr. Octagon has operated on all the nether regions he ever will.
The Golden Age Of Hip-Hop was over, and one of the premier groups to usher in that era, Ultramagnetic MC’s, were heading their separate ways. Kool Keith, whom you most definitely know from The Prodigy’s Fat OF The Land, was the likeliest of the group to have a successful solo career, and he’s done that in spades, clubs, and diamond-encrusted hearts. He’s released album after album after album, running through numerous aliases in doing so, and has earned him the reputation of one of the hardest working MC’s of the last two decades. This, despite some serious issues of quality control, especially with a preponderance of crude sex raps that’d make even Luke of 2 Live Crew ask what the cheese. It all had to start somewhere though, and that was with his most critically hailed alias, Dr. Octagon.
While hip-hop’s flush with quirky personas, this one has to rank up there with the most bizarre. See, he’s not some clichéd ‘doctor of lyricism’ or the like; rather, Dr. Octagon is half mad scientist, half time traveling extra-terrestrial (he comes from the planet Jupiter), and half kink scene gynecologist. This provides Keith a setting where horrorcore, nerdcore, and porno raps all cross paths, with an emphasis on tongue-twisting vocabulary that’s equal parts humorous and perverse. When he says he’s gonna’ dissect rectums, treat your chimpanzee acne and moosebumps, and prescribe a treatment of Pepsi cola, Pepto Bismal, bugs, and pop rocks, you can’t be sure if he’s utterly insane, or has fun screwing about the operating room (between sessions of screwing patients in the operating room). Elsewhere, his assistant Uncle Gerbik is a half shark half alligator half man, and over two centuries old. Clearly Dr. Octagonecologyst is an album firmly planted in cheek, probably sewed there with satin threads and rubber needles.
So Kool Keith had something unique going for him here, but what gave Dr. Octagon a quick cult following was the production of Dan The Automator and turntable scratching of DJ Q-Bert (just coming off a string of DMC Championship victories with Mixmaster Mike). Yep, Dr. Octagonecologyst is basically a proto Deltron 3030. Hell, the first track is titled 3000, and sounds like it uses the bleeps from Pierre Henry’s Psyché Rock as a scratch sample among the super-spliffed vibes. Many of the beats are stripped back to a trip-hop haze with old timey French pop loops, serving the macabre tone with a dose of brevity throughout. Man, no wonder Mo Wax wanted in on this.
For all the critical adoration Dr. Octagon generated though, Kook Keith wasn’t the biggest fan of the project, practically ending it right after. He’s actually ‘killed’ the alias multiple times with another persona, Dr. Dooom, and efforts to revitalize him have failed to manifest much of note. Perhaps it’s as it should be, a one-off project that generated underground buzz, but retaining street cred by never overstaying its welcome. Dr. Octagon has operated on all the nether regions he ever will.
Saturday, January 9, 2016
Derek Carr - The Digital Space Race
Psychonavigation Records: 2008
Derek Carr isn't super-obscure like some of these Psychonavigation folks are. He has some half-dozen records to his name in the early ‘00s, though mostly jumped from label to label in doing so. By the time he found a semi-permanent home with the Ireland print, he’d already released two albums on another Ireland print, Nice & Nasty Records. And his self-released debut single, Copperbeech EP, is apparently something of a rare collectible for ‘Irish techno by way of Detroit’ enthusiasts, because this is also apparently a scene. That actually has me wondering if Derek Carr is actually his real name. I mean, I can only assume it is so, but Lord Discogs doesn’t have any bio on the guy, and anyone also making Detroit techno with a name like that can’t be a coincidence. Okay, it can, but c’mon, really? Are folks with that combination of syllables just destined to make music of a similar sound? The Techno Gods are weird.
In case it hasn’t become obvious by now, Derek Carr makes minimal gabber; and by ‘minimal gabber’, I of course mean Detroit techno. Its more ‘space age’ than the genre typically goes, The Digital Space Race at times coming off like early Apollo material. Openers Horizons and Butterfly could have found an easy home on those seminal ambient techno compilations, while Letters and Grassy Plains fears no pianos being coupled with their soft electro breaks. Elsewhere, the future funk is present and correct with tracks like 678, Departed Emotion, and Home, while Mr. Carr indulges with a little spritely indulgences with Juvenile and Sis. Plus, can’t neglect the strict ambient cuts, the short Dilated Beyond Belief (hilarious title!) serving as an intermission of sorts, and Surrounded By Nature taking us out in good ol’ space drone fashion.
Um, that’s The Digital Space Race all summed up then, isn’t it. If you’ve ever heard retro Detroit techno, you’ve heard this album, and Mr. Carr isn’t in any sort of hurry to shake the foundations. The tunes are all nice and arranged well enough, but they don’t leap out in any significant way either. Not even the strictly old school production is much of a unique selling point. Novel perhaps, especially for a 2008 release, but this is Derek Carr’s preferred style of music making, and far from the only chap around doing it. Yet I’m hesitant to call The Digital Space Race something silly like ‘recycled’, ‘rote’, or ‘retro to a fault’, because it most definitely is not that either. It may sound sprung from suburban Detroit in the year 1994, but futurism will never age.
As for Carr, he’s put out a couple more albums on Psychonavigation since this one, but more interestingly recently released another single on Trident. This was the ‘print’ he set up to self-release his first single, which I guess he dusted off to put out another EP through Bandcamp. Now wouldn’t that be something, seeing a re-issue of the old Copperbeach EP too.
Derek Carr isn't super-obscure like some of these Psychonavigation folks are. He has some half-dozen records to his name in the early ‘00s, though mostly jumped from label to label in doing so. By the time he found a semi-permanent home with the Ireland print, he’d already released two albums on another Ireland print, Nice & Nasty Records. And his self-released debut single, Copperbeech EP, is apparently something of a rare collectible for ‘Irish techno by way of Detroit’ enthusiasts, because this is also apparently a scene. That actually has me wondering if Derek Carr is actually his real name. I mean, I can only assume it is so, but Lord Discogs doesn’t have any bio on the guy, and anyone also making Detroit techno with a name like that can’t be a coincidence. Okay, it can, but c’mon, really? Are folks with that combination of syllables just destined to make music of a similar sound? The Techno Gods are weird.
In case it hasn’t become obvious by now, Derek Carr makes minimal gabber; and by ‘minimal gabber’, I of course mean Detroit techno. Its more ‘space age’ than the genre typically goes, The Digital Space Race at times coming off like early Apollo material. Openers Horizons and Butterfly could have found an easy home on those seminal ambient techno compilations, while Letters and Grassy Plains fears no pianos being coupled with their soft electro breaks. Elsewhere, the future funk is present and correct with tracks like 678, Departed Emotion, and Home, while Mr. Carr indulges with a little spritely indulgences with Juvenile and Sis. Plus, can’t neglect the strict ambient cuts, the short Dilated Beyond Belief (hilarious title!) serving as an intermission of sorts, and Surrounded By Nature taking us out in good ol’ space drone fashion.
Um, that’s The Digital Space Race all summed up then, isn’t it. If you’ve ever heard retro Detroit techno, you’ve heard this album, and Mr. Carr isn’t in any sort of hurry to shake the foundations. The tunes are all nice and arranged well enough, but they don’t leap out in any significant way either. Not even the strictly old school production is much of a unique selling point. Novel perhaps, especially for a 2008 release, but this is Derek Carr’s preferred style of music making, and far from the only chap around doing it. Yet I’m hesitant to call The Digital Space Race something silly like ‘recycled’, ‘rote’, or ‘retro to a fault’, because it most definitely is not that either. It may sound sprung from suburban Detroit in the year 1994, but futurism will never age.
As for Carr, he’s put out a couple more albums on Psychonavigation since this one, but more interestingly recently released another single on Trident. This was the ‘print’ he set up to self-release his first single, which I guess he dusted off to put out another EP through Bandcamp. Now wouldn’t that be something, seeing a re-issue of the old Copperbeach EP too.
Friday, January 8, 2016
Various - Digiseeds: Compiled By Ambientium
Ultimae Records: 2015
It took nearly the entirety of 2015, but Ultimae finally released some new music. Okay, they had a single or two earlier in the year, even taking their first bold steps into the vinyl market, but it wasn't until the autumn months we saw anything for us foolish CD collectors. Not that I blame the label for a downturn, taking their time in digitally re-issuing older material for an ever increasing streaming market. Ah well, at least I still had Altar tiding me over.
Ultimae also appears to have spent this fallow year scoping their 'panoramic music' scene for new blood, inviting wandering ambient and chill talents into their fold. Ambientium, or Lubomir Cvrk to the Czech Republic Bureau Of Ambienting, hasn’t released much in his half-decade of music making, but has garnered a respectable cult following in that time. Mostly self-releasing his own material, he’s had a smattering of tracks appear on compilations from Kahvi Collective and Mindsrping Music in recent years, which was apparently enough for Ultimae to come knocking. That, and a few folks were making comparisons between the two as far back as Ambientium’s first album, Fractal Philosophy. Taking a quick listen to it, and oh... oh my! I’m getting some serious Distant System vibes off that album. Hard copy now, please!
Digiseeds, on the other hand, sounds nothing like Distant System (or Androcell, or any other Tyler Smith project). Rather, it’s a new concept compilation series from Ultimae, with Ambientium handling the helm in its first outing. Not sure if it’s Mr. Cvrk’s own series to do with as he pleases, or if it will feature a rotating guest of compilers; heck, I don’t even know if there will be a follow-up, as Ultimae’s had some difficulty in getting any new series going since Fahrenheit Project ended. Hoping for the latter though, especially if they turn out as good as this CD has.
Yeah, yeah, me saying an Ultimae release is good is like calling water wet. I can’t help it that they keep releasing mint material. Ambientium has gathered a remarkable collection of calming music here, where tones, textures, and timbre float through wide open sonic spaces. Its mood music for the mind and soul, best enjoyed on gray morning afters for a little uplifting of the spirit (probably). There’s familiar names in Lars Leonhard and Martin Nonstatic (trust me, he’ll be familiar soon enough) to utter unknowns like Mandrax and Synapsia (lone Lord Discogs entries!). There’s space ambient with One Arc Degree’s Seven Years Of Summer and Ambientium’s Heartbeat, to dubbier glitch with Ocoeur’s Outside and Cloower Wooma’s Human Disease. Mandrax’s Melting has a twee toybox piano melody that has me thinking it’d make for a nice life insurance commercial, and State Azure’s Vertigo has a little old-school sequencers going for it with the dubbed-out textures.
And thus another solid collection from Ultimae. Almost worth the whole year to hear some. Not so long until the next though, eh?
It took nearly the entirety of 2015, but Ultimae finally released some new music. Okay, they had a single or two earlier in the year, even taking their first bold steps into the vinyl market, but it wasn't until the autumn months we saw anything for us foolish CD collectors. Not that I blame the label for a downturn, taking their time in digitally re-issuing older material for an ever increasing streaming market. Ah well, at least I still had Altar tiding me over.
Ultimae also appears to have spent this fallow year scoping their 'panoramic music' scene for new blood, inviting wandering ambient and chill talents into their fold. Ambientium, or Lubomir Cvrk to the Czech Republic Bureau Of Ambienting, hasn’t released much in his half-decade of music making, but has garnered a respectable cult following in that time. Mostly self-releasing his own material, he’s had a smattering of tracks appear on compilations from Kahvi Collective and Mindsrping Music in recent years, which was apparently enough for Ultimae to come knocking. That, and a few folks were making comparisons between the two as far back as Ambientium’s first album, Fractal Philosophy. Taking a quick listen to it, and oh... oh my! I’m getting some serious Distant System vibes off that album. Hard copy now, please!
Digiseeds, on the other hand, sounds nothing like Distant System (or Androcell, or any other Tyler Smith project). Rather, it’s a new concept compilation series from Ultimae, with Ambientium handling the helm in its first outing. Not sure if it’s Mr. Cvrk’s own series to do with as he pleases, or if it will feature a rotating guest of compilers; heck, I don’t even know if there will be a follow-up, as Ultimae’s had some difficulty in getting any new series going since Fahrenheit Project ended. Hoping for the latter though, especially if they turn out as good as this CD has.
Yeah, yeah, me saying an Ultimae release is good is like calling water wet. I can’t help it that they keep releasing mint material. Ambientium has gathered a remarkable collection of calming music here, where tones, textures, and timbre float through wide open sonic spaces. Its mood music for the mind and soul, best enjoyed on gray morning afters for a little uplifting of the spirit (probably). There’s familiar names in Lars Leonhard and Martin Nonstatic (trust me, he’ll be familiar soon enough) to utter unknowns like Mandrax and Synapsia (lone Lord Discogs entries!). There’s space ambient with One Arc Degree’s Seven Years Of Summer and Ambientium’s Heartbeat, to dubbier glitch with Ocoeur’s Outside and Cloower Wooma’s Human Disease. Mandrax’s Melting has a twee toybox piano melody that has me thinking it’d make for a nice life insurance commercial, and State Azure’s Vertigo has a little old-school sequencers going for it with the dubbed-out textures.
And thus another solid collection from Ultimae. Almost worth the whole year to hear some. Not so long until the next though, eh?
Labels:
2015,
ambient,
Ambientium,
Compilation,
dub,
Ultimae Records
Thursday, January 7, 2016
Eat Static - Dead Planet
Mesmobeat: 2015
I was wondering if Eat Static would ever release another album, then ol' Merv goes and gives us a double-album. No wonder he took so long then, and a good idea too. His last foray into the LP domain saw two CDs released as well, though on separate labels focusing on completely different styles. It was a neat idea to feature an exclusively downtempo album for Interchill, but it’d probably be a hard-sell twice. Folks come to Eat Static for the tear-out psy with the crazy cybernetic leads and pulpy sci-fi samples; the few mellow moments under the stoner sun are best served as respites.
Well nothing doing for Dead Planet, once again splitting the Eat Static stylee up between two discs, uptempo stuff on the titular CD, and a chill offering in the second tray titled Human Upgrade. Interestingly, this has been released on Mesmobeat, the label Eat Static set-up for themselves after Planet Dog died, and been in semi-limbo for the past half-decade. What, did no one else want to give this double-LP a chance?
Dead Planet kicks off with another System 7 pairing, tickling all those old-school goa trance triggers in my head. It pretty much goes for the twisted full-on stuff from there though (with one obligatory mint d’n’b leaning cut with Ringlefinch), tracks evolving in dark-psy fashion before unleashing a spacey bit for the climax. It’s all well-produced, but as with so much modern psy-trance, hasn’t evolved much in the past decade, and the same is true for Eat Static’s take on the sound, sci-fi quirks aside. And yet, it’s better than Merv’s dip into other music here. Dragon’s Breath is a frightfully dull tech-plodder, while In All Worlds with Robert Smith is a fine track on a cyberpunk soundtrack, but way out of place here. And Odious Odium sounds like it’s building up to a hideously obnoxious brostep drop (clap builds! glitch-bends!), then does an awesome one-eighty into spaced-out tear-out psy (that low-end!). That’s the Eat Static I love!
Human Upgrade meanwhile... holy cow, where did this album come from? As the chiller side of Eat Static, I was expecting some psy-dub rubs, or maybe a throwback cut that might have appeared on the old Planet Dog compilations. And the first few tracks do offer this, even getting Robbert Heynen of the former Psychick Warriors Ov Gaia in with Near Future Myth (dear Lord, such expansive sonics!). The back-end of CD2 then grows more ethnic, orchestrated, and wordly with the beats. There were hints of this sound on Back To Earth, but ol’ Merv’s taken things to another level here, sounding like latter-era Juno Reactor in some parts. I know I said hearing Eat Static without the quirkiness feels off, but if lush production like this is what we can also expect, I’m all for it.
Dead Planet as a whole is quite a bit to take in, but is well worth the investment for followers of the alien nation.
I was wondering if Eat Static would ever release another album, then ol' Merv goes and gives us a double-album. No wonder he took so long then, and a good idea too. His last foray into the LP domain saw two CDs released as well, though on separate labels focusing on completely different styles. It was a neat idea to feature an exclusively downtempo album for Interchill, but it’d probably be a hard-sell twice. Folks come to Eat Static for the tear-out psy with the crazy cybernetic leads and pulpy sci-fi samples; the few mellow moments under the stoner sun are best served as respites.
Well nothing doing for Dead Planet, once again splitting the Eat Static stylee up between two discs, uptempo stuff on the titular CD, and a chill offering in the second tray titled Human Upgrade. Interestingly, this has been released on Mesmobeat, the label Eat Static set-up for themselves after Planet Dog died, and been in semi-limbo for the past half-decade. What, did no one else want to give this double-LP a chance?
Dead Planet kicks off with another System 7 pairing, tickling all those old-school goa trance triggers in my head. It pretty much goes for the twisted full-on stuff from there though (with one obligatory mint d’n’b leaning cut with Ringlefinch), tracks evolving in dark-psy fashion before unleashing a spacey bit for the climax. It’s all well-produced, but as with so much modern psy-trance, hasn’t evolved much in the past decade, and the same is true for Eat Static’s take on the sound, sci-fi quirks aside. And yet, it’s better than Merv’s dip into other music here. Dragon’s Breath is a frightfully dull tech-plodder, while In All Worlds with Robert Smith is a fine track on a cyberpunk soundtrack, but way out of place here. And Odious Odium sounds like it’s building up to a hideously obnoxious brostep drop (clap builds! glitch-bends!), then does an awesome one-eighty into spaced-out tear-out psy (that low-end!). That’s the Eat Static I love!
Human Upgrade meanwhile... holy cow, where did this album come from? As the chiller side of Eat Static, I was expecting some psy-dub rubs, or maybe a throwback cut that might have appeared on the old Planet Dog compilations. And the first few tracks do offer this, even getting Robbert Heynen of the former Psychick Warriors Ov Gaia in with Near Future Myth (dear Lord, such expansive sonics!). The back-end of CD2 then grows more ethnic, orchestrated, and wordly with the beats. There were hints of this sound on Back To Earth, but ol’ Merv’s taken things to another level here, sounding like latter-era Juno Reactor in some parts. I know I said hearing Eat Static without the quirkiness feels off, but if lush production like this is what we can also expect, I’m all for it.
Dead Planet as a whole is quite a bit to take in, but is well worth the investment for followers of the alien nation.
Labels:
2015,
album,
downtempo,
Eat Static,
full-on,
goa trance,
Mesmobeat,
psy dub,
psy trance,
sci-fi,
world beat
Wednesday, January 6, 2016
Arpatle - The Day After
Psychonavigation Records: 2012
Look, when I said my trawl of Psychonavigation Records' blowout sale would reveal some super obscure producers, I meant it. Wait, did I say that? I can't remember now. That big purchase was many months ago, with so much more having arrived in my towers since. My initial fears of an over-abundance of the Ireland label's material in my current backlog queue is moot, plenty more albums breaking up any potential monotony. Not that the albums I did get are redundant retreads of the same sounds, oh no! I'm amazed just how diverse Psychonavigation's proving to be, and that's including me totally ignoring all the shoegaze rock stuff. Maybe a little chillwave though.
Then, our obscure artist for the day is Patrick Bossink, or Arpatle to those buying his music. You might remember him from the Psychonavigation compilation Psychonavigation Sampler 2013, and the cassette Ik En Jij, Allebei from Yoshimi!. Oh come on, there’s no way you’ve heard that one. Maybe one of Arpatle’s other albums though, Continuum from 2009 on Family Garden Recordings, or the recently released Quapi on Offshoot Records. The Day After is the LP lodged between those two in his discography, and I’m really struggling with the background details of this guy, aren’t I? It’s the entire internet’s fault, hopelessly scarce in info surrounding him. Lord Discogs just has him down as an ambient producer from Holland. His website has even less info than that, merely a window to his releases on various online platforms. At least Mr. Bossink wrote a few more lines for his Last.fm biography, mentioning he’s been studying Music and Technologies at the Utrecht School Of Arts. Yeah, The Day After totally has the markings of an arts student.
If anything, Arpatle loves treating the studio as a mini symphony, utilizing unconventional tones, sounds, and instruments in crafting his music. Opener Solstitium has something of a Far East thing going for it, but uses an xylophone (or some mallet instrument, I’m no expert) for its lead, then goes into an extended dubbed-out excursion in the middle before returning to the twee melodies. Follow-up Crickets nabs some field recordings of nocturnal critters (I hear more frogs than crickets), then goes for a minimalist excursion through dubby tones and treatments. Third track goes drone with its effects, though has a chipper country mood about it, as though we’re riding along some Western setting on our horses. On acid.
To abstract, you know those interlude moments on Future Sound Of London albums, where they indulge themselves with sonic collages and experimental doodling? That’s what much of The Day After sounds like, though tighter in composition. Some tracks, like shoegazey Arctic Trip and the lush ambience of Wake Me Up, are quite the treat for the ears. Others, like ultra-minimalist Headache and spacious Satie’s Birthday (so much space!), instead come off as Arpatle having some art-house fun in his studio. It’s all quite pleasant, though lacking musical muscle to stay lodged in your head for long.
Look, when I said my trawl of Psychonavigation Records' blowout sale would reveal some super obscure producers, I meant it. Wait, did I say that? I can't remember now. That big purchase was many months ago, with so much more having arrived in my towers since. My initial fears of an over-abundance of the Ireland label's material in my current backlog queue is moot, plenty more albums breaking up any potential monotony. Not that the albums I did get are redundant retreads of the same sounds, oh no! I'm amazed just how diverse Psychonavigation's proving to be, and that's including me totally ignoring all the shoegaze rock stuff. Maybe a little chillwave though.
Then, our obscure artist for the day is Patrick Bossink, or Arpatle to those buying his music. You might remember him from the Psychonavigation compilation Psychonavigation Sampler 2013, and the cassette Ik En Jij, Allebei from Yoshimi!. Oh come on, there’s no way you’ve heard that one. Maybe one of Arpatle’s other albums though, Continuum from 2009 on Family Garden Recordings, or the recently released Quapi on Offshoot Records. The Day After is the LP lodged between those two in his discography, and I’m really struggling with the background details of this guy, aren’t I? It’s the entire internet’s fault, hopelessly scarce in info surrounding him. Lord Discogs just has him down as an ambient producer from Holland. His website has even less info than that, merely a window to his releases on various online platforms. At least Mr. Bossink wrote a few more lines for his Last.fm biography, mentioning he’s been studying Music and Technologies at the Utrecht School Of Arts. Yeah, The Day After totally has the markings of an arts student.
If anything, Arpatle loves treating the studio as a mini symphony, utilizing unconventional tones, sounds, and instruments in crafting his music. Opener Solstitium has something of a Far East thing going for it, but uses an xylophone (or some mallet instrument, I’m no expert) for its lead, then goes into an extended dubbed-out excursion in the middle before returning to the twee melodies. Follow-up Crickets nabs some field recordings of nocturnal critters (I hear more frogs than crickets), then goes for a minimalist excursion through dubby tones and treatments. Third track goes drone with its effects, though has a chipper country mood about it, as though we’re riding along some Western setting on our horses. On acid.
To abstract, you know those interlude moments on Future Sound Of London albums, where they indulge themselves with sonic collages and experimental doodling? That’s what much of The Day After sounds like, though tighter in composition. Some tracks, like shoegazey Arctic Trip and the lush ambience of Wake Me Up, are quite the treat for the ears. Others, like ultra-minimalist Headache and spacious Satie’s Birthday (so much space!), instead come off as Arpatle having some art-house fun in his studio. It’s all quite pleasant, though lacking musical muscle to stay lodged in your head for long.
Tuesday, January 5, 2016
Perturbator - Dangerous Days
Blood Music: 2014
So synthwave's now a thing. Who knows if this neo-'80s scene has much longevity – it's not like electroclash lasted a significant amount of time – but as we are, there's a growing fascination with the decade that brought us neon-glazed urban dystopia. Mostly following in the footsteps of Jan Hammer, John Carpenter, and a whole lotta’ Sega racing games, it's sole purpose is in recreating the soundtracks of every D-grade sci-fi pulp movie and splatter-slasher flick from the '80s, many of which are lost to time and degraded VHS tapes. Initially a digital market, it’s gained enough traction that a few names have large enough followings that some labels are investing significant pressing factory time. Perturbator, or James Kent on his Delorean insurance papers, has been one of the scene’s biggest names, and became a de facto ambassador of the darker end of synthwave thanks to the popularity of his contributions to the Hotline Miami video game series.
So popular is Perturbator that he can release multiple collector’s represses of vinyl and cassette, and folks will keep snatching them up. Dangerous Days, his third full-length, has some nineteen variations released, and you just know there’s a die-hard or two who’s gathered every record, CD, and tape. Man, Blood Music sure knows how to cater to obsessives.
What’s set Perturbator apart from all the other bedroom synthwave wibblers is his know-how in the album domain. Each LP could serve as the soundtrack of a feature-length flick (likely financed by The Cannon Group, Inc.), but Mr. Kent doesn’t get so wrapped up in retro navel gazing as many synthwavers go. He instead uses the fantastical urban pulp of yore as a starting point to go in his own way, creating his own vision of helmeted vigilantes confronting the cyborg ruling class controlled by mega-corporations, and all that good rot. Hey, it’s right there in his Dangerous Days’ liner notes, a detailed screed setting the tone and theme of the music within. C’mon, I just know you wanna’ see the movie now.
Pft, no motion picture is required with this album. Just take your standard neo-‘80s tropes and paint the imagery yourself. Aw yeah, Perturbator’s Theme sees him cruising down the rain-soaked dark alleys. Future Club finds our vigilante scoping out the seedy underground looking for hot tips and cool tricks. Hard Wired brings us a touch of detached romance in a cold, cruel, chrome city. The robots are on the counter-attack in Humans Are Such Easy Prey. High octane chases sequences with nitro-turbo on Complete Domination. A quiet, reflective moment in Last Kiss, before the all-out assault with the titular twelve-minute climax to Dangerous Days. Right, something like all that.
Of course, almost all of synthwave fosters such iconography, practically to a fault. Perturbator does it better than most though, and having Blood Music as his graphic designer certainly helps set him above the pack. If you’re curious what this scene has to offer, Dangerous Days is as solid a starting point as any.
So synthwave's now a thing. Who knows if this neo-'80s scene has much longevity – it's not like electroclash lasted a significant amount of time – but as we are, there's a growing fascination with the decade that brought us neon-glazed urban dystopia. Mostly following in the footsteps of Jan Hammer, John Carpenter, and a whole lotta’ Sega racing games, it's sole purpose is in recreating the soundtracks of every D-grade sci-fi pulp movie and splatter-slasher flick from the '80s, many of which are lost to time and degraded VHS tapes. Initially a digital market, it’s gained enough traction that a few names have large enough followings that some labels are investing significant pressing factory time. Perturbator, or James Kent on his Delorean insurance papers, has been one of the scene’s biggest names, and became a de facto ambassador of the darker end of synthwave thanks to the popularity of his contributions to the Hotline Miami video game series.
So popular is Perturbator that he can release multiple collector’s represses of vinyl and cassette, and folks will keep snatching them up. Dangerous Days, his third full-length, has some nineteen variations released, and you just know there’s a die-hard or two who’s gathered every record, CD, and tape. Man, Blood Music sure knows how to cater to obsessives.
What’s set Perturbator apart from all the other bedroom synthwave wibblers is his know-how in the album domain. Each LP could serve as the soundtrack of a feature-length flick (likely financed by The Cannon Group, Inc.), but Mr. Kent doesn’t get so wrapped up in retro navel gazing as many synthwavers go. He instead uses the fantastical urban pulp of yore as a starting point to go in his own way, creating his own vision of helmeted vigilantes confronting the cyborg ruling class controlled by mega-corporations, and all that good rot. Hey, it’s right there in his Dangerous Days’ liner notes, a detailed screed setting the tone and theme of the music within. C’mon, I just know you wanna’ see the movie now.
Pft, no motion picture is required with this album. Just take your standard neo-‘80s tropes and paint the imagery yourself. Aw yeah, Perturbator’s Theme sees him cruising down the rain-soaked dark alleys. Future Club finds our vigilante scoping out the seedy underground looking for hot tips and cool tricks. Hard Wired brings us a touch of detached romance in a cold, cruel, chrome city. The robots are on the counter-attack in Humans Are Such Easy Prey. High octane chases sequences with nitro-turbo on Complete Domination. A quiet, reflective moment in Last Kiss, before the all-out assault with the titular twelve-minute climax to Dangerous Days. Right, something like all that.
Of course, almost all of synthwave fosters such iconography, practically to a fault. Perturbator does it better than most though, and having Blood Music as his graphic designer certainly helps set him above the pack. If you’re curious what this scene has to offer, Dangerous Days is as solid a starting point as any.
Subscribe to:
Posts (Atom)
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 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
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.
Tone Depth
Tony Anderson Sound Orchestra
Too Pure
Tool
tools
Topaz
Tosca
Toto
Touch
Touched
Tourette Records
Toxik Synther
Tracing Xircles
Traffic Entertainment Group
trance
Trancelucent
Tranquillo Records
Trans'Pact
Transcend
Transformers
Transient Records
trap
Trax Records
Trend
Trentemøller
Tresor
tribal
Tricky
Triloka Records
trip-hop
Triquetra
Trishula Records
Tristan
Troum
Troy Pierce
TRS Records
Tru Thoughts
Tsuba Records
Tsubasa Records
Tuff Gong
Tunnel Records
Turbo Recordings
turntablism
TUU
TVT Records
Twisted Records
Type O Negative
Týr
U-God
U-Recken
U2
U4IC DJs
Ãœberzone
Ugasanie
UK acid house
UK Garage
UK Hard House
Ultimae Records
Ultra Records
Umbra
Underworld
Union Jack
United Dairies
United DJs Of America
United Recordings
Universal Motown
Universal Music
Universal Records
Universal Republic Records
UNKLE
Unknown Tone Records
Unusual Cosmic Process
UOVI
Upstream Records
Urban Icon Records
Urban Meditation
Utada Hikaru
V2
Vagrant Records
Valanx
Valiska
Valley Of The Sun
Vangelis
Vap
VAST
Vector Lovers
Venetian Snares
Venonza Records
Vermont
Vernon
Versatile Records
Verus Records
Verve Records
VGM
Vibrant Music
Vice Records
Victor Calderone
Victor Entertainment
Vidna Obmana
Viking metal
Vince DiCola
Vinyl Cafe Productions
Virgin
Virtual Vault
Virus Recordings
Visionquest
Visions
Vitalic
vocal trance
Vortex
Voxxov Records
Voyage
Wagram Music
Waki
Wanderwelle
Warmth
Warner Bros. Records
Warp Records
Warren G
Water Music Dance
Wave Recordings
Wave Records
Waveform
Waveform Records
Wax Trax Records
Way Out West
WC
WEA
Wednesday Campanella
Weekend Players
Weekly Mini-Review
Werk Discs
Werkstatt Recordings
WestBam
Westside Connection
White Cloud
White Swan Records
Wichita
Wiggle
Will Saul
William Orbit
Willie Nelson
Wintersun
world beat
world music
writing reflections
Wrong Records
Wu-Tang Clan
Wurrm
Wyatt Keusch
Xerxes The Dark
XL Recordings
XTT Recordings
Yahgan
Yamaoka
Yello
Yes
Ylid
Youth
Youtube
YoYo Records
Yul Records
zakè
Zenith
ZerO One
Zoharum
Zomby
Zoo Entertainment
ZTT
Zyron
ZYX Music
µ-Ziq