Tuesday, January 3, 2023

Shuta Yasukochi & Carlos Ferreira - Quiet Reminders

Archives: 2020

A simple little release, this. Two tracks, both about fourteen and a half minutes long, and two remixes, averaging nine minutes between them. I suppose that barely constitutes this being an album proper, reaching over forty minutes in total. Still feels rather skint though, like there could have been more ideas explored over the course of its run time. So it goes with ambient, I guess.

The artists behind this album are Shuta Yasukochi, Japanese, and Carlos Ferreira, Brazilian. This is not as odd a combination of ethnicity as you'd think, Brazil having the second largest population of Japanese heritage in the world. Some hundred years ago, there was a large influx of immigration there, mostly to work coffee plantations and other agricultural enterprises. A big reason for this was the United States massively reducing the amount of Japanese immigrants within their borders, and with Japan still trying to find its way out of its post-feudal era, many went to Brazil for a better chance at life. I guess it worked out well enough, seeing as how a few million souls remains there to this day. Whether this has anything to do with Carlos and Shuta meeting each other to collaborate, I haven't a clue, but hey, always fun to divert this music blog into a history blog, right?

Both had been active making music since at least the mid-'10s, growing decent Soundcloud profiles in that time. Shuta even got his first album out on Archives half a decade ago, while Carlos was working with other artists, including some psychedelic rock thing called Ansiedaed, including a song called Drabula. It's not indicative of what he's making with Shuta.

Still, he does put his guitar skills to some use with first track Floating, even if it's just the gentlest of electric strumming. Not even strumming really, more like soft plucking, with a little effects pedal providing subtle delay. Meanwhile, Shuta provides the soft, droning synth pads, the higher layers of timbre imparting a feeling of, well, floating, like wispy clouds caressing alpine peaks. Yes, thank you, Archives, for once again giving an album the most perfect piece of cover art. Naturally, it's a piece that's not in any hurry to move along, but the lighter synths do grow steadily more pronounced as it plays out.

By contrast, An Endless Dream goes atonal, very little about it as harmonious as Floating. The drones are quite subdued, there's a layer of quiet, dubby field recordings churning in the background, and the sparsest of idiophonic instruments offer what little melody Shuta and Carlos are willing to give. I kinda' zone out on this one.

The two remixes come care of Hilyard and Archives-head Agustín, under his Warmth guise (of course). Hilyard turns Floating into more of a standard shoegazey ambient outing, but holy...! Warmth goes about as close to dark ambient drone as I think I've ever heard from this label. Now I want to check out that Darkest Place album from him.

Monday, January 2, 2023

Spicelab - Quicksand EP

Harthouse/Solieb Digital: 1992/2013

I've held off buying Oliver Lieb Bandcamp remasters for far too long. Always that niggling hope though, that maybe, just maybe, he'd release a hard copy version of his early singles across various aliases, gathering them into a compilation, as done with his L.S.G. works. And I suppose there's still a chance it will happen, but really, if it hasn't happened by now, chances are it never will ...and watch me get proven wrong by this summer.

Anyhow, the early Spicelab singles remained highest on my 'Want' list, so naturally they were the first I sprung for. The Quicksand EP in particular was a unique item in the Spicelab canon, as the titular track is among the first tunes Mr. Lieb released on the downbeat. Perhaps not as notable overall since he'd release the ambient-leaning Constellation on Recycle Or Die the following year, but for a producer who was mostly making blistering, raw acid and techno, Quicksand is a significant step in Oliver's musical evolution.

I already touched on the track as it appeared on the Harthouse Dark Hearts, Vol. 1 compilation, but I may as well re-iterate. Maintaining that experimental sci-fi bent Spicelab often enjoyed, this one opens with lengthy, spaced-out synths gliding and sliding along sine waves, all the while someone hurriedly rushes up a flight of hallway stairs. Man, I can feel my calves getting a work-out just listening to this!

Seriously though, Quicksand has most of the hallmarks of a typical trance tune of the era, just played in a far more chill way, the groove a steady, soft rhythm while all sorts of electronic sounds bubble about. It's an extremely slow build getting to a point where everything's in play, and even then, it doesn't make a big fuss about it, simply cruising along for the track's duration. For those used to the harder side of Spicelab – heck, Harthouse in general – this had to be quite the ear-opener. Small wonder it was tapped for label retrospective consideration.

On the flip, however, is where you'll find the bangers. Amorph is probably the most famous of the lot, an early example of Oliver steering German trance music into the acid techno of the day. It starts out typically of the genre in '92: noisy noises, simple rave riffs, and speedy 150 BPM beats. At the two-minute mark though, those distinct Lieb space synths emerge, flying along with simple pitch bends and squiggly electronics, sending the track into outer orbit. There were examples of these sounds in the debut Spicelab EP, but never used to this effect. The cheeky 'gabber' beats towards the end are just silly fun.

The third track on this EP is called 56387. It's got an annoying hook that sounds like a cyborg strangling a synthesizer. It's mostly just boshy acid techno with some ol' school German trance choir pads. It's not as interesting as the rest of this EP. It was just the style at the time.

Sunday, January 1, 2023

So Long 2022, Oh Hi 2023

What a weird year that was.

It started out so simple, a carrying on of whatever 2021 was. Then ALL THAT happened, whatever you want to throw into your 'all that' bucket. Rergardless, as with much of online society, I couldn't help but get addicted to doomscrolling, to such a point I had to step back and reasses priorities. And wouldn't you know it, things turned out for the better, at least for yours truly. Kinda'. Okay, so updating and upgrading my life-balance made my personal debt worse, though not crippling so. If I need some quick scratch, I should just start taking paid positions at the festivals I volunteer at.

But yeah, it was nice to have things 'open' again this year (never mind if they 'should' have been yet, what with COVID still a thing, but eh, The Economy must grind on), including clubs, swimming pools and the like. Finding that motivation to get more physically active has certainly been a positive this past year, even if it kinda' cut into the amount of time I was willing to dedicate to this blog. Speaking of which, I s'pose 2022 will forever be remembered as the year I finally completed my initial project of listening to and reviewing Every. Single. Item. in my music collection, at least as it existed when I first relaunched way back in 2012. Crazy to think it's been a decade since then, eh?

Anything else? Oh, just switching music streaming services, switching social media services (or at least, weening off one), switching living environment (so many tapestries now. Just... so many). All in all, a remarkably busy year of change, mostly for the better. Some may call it 'mid-life crisis', but I prefer thinking of it as finally coming into one's own after nearly two decades of fumbling through adulthood. But as Neil Young once sang, "I still got a long way to go."

Oh yeah, and no ACE TRACKS list yet. Even though Speedy J has finally uploaded all his stuff to more streaming services, a small playlist of primarily his stuff would be overkill.

Saturday, December 31, 2022

The Future Sound Of London - The Pulse EPs

Jumpin' & Pumpin': 2008

This has to be about it. There can't be anymore long-lost FSOL releases from way back that I haven't gotten. Officially released ones, at least. Like, there's still all that From The Archives material that they never seem to run out of, though I'm sure whatever was still in their ancient data banks has been expunged by now. No, wait, I'm seeing a recently released EP called Mental Cube (Original Recordings From 1990). Oof, of course there would be something like this floating about. And I suppose they could still gather up all their wayward single-purpose aliases into a compilation at some point. Aliases like Metropolis, Semi Real, Intelligent Communication, Art Science Technology, and Homeboy (2). Brian and Garry really were quite the busy-bodies back-when.

But no, I'm talking about straight-up, proper Future Sound Of London works, of which The Pulse EPs was where they first emerged. Indo Tribe too, if we're keeping count. And Smart Systems as well. Technically also Yage, as an artist and not a producer. Mental Cube though, that had already been around. Basically Garry and Brian finally just putting themselves and their Earthbeat sessions out there, seeing what stuck and what would be relegated to the dustbin of early rave jams. Four records emerged from this series, with a spiffy consolidation of them released when the duo were re-releasing a bunch of archival material on the 'net.

Things kicks off with, appropriately, Bring In The Pulse (MFK Mix), as Indo Tribe. Though Lord Discogs tells me this is the first instance of me having this track, it sure feels like I've already heard it, a fairly standard breakbeat-bleep track as heard out of the early UK rave scene. Maybe a lot of it was recycled into other tracks? Whatever, the first real item of note on the first Pulse EP is the first official FSOL track, which appeared nowhere else: Hardhead (Frothin' At The Mouth Mix)! It's... um... it's not like any other FSOL track you'll hear, just a rudimentary breakbeat tune with some sample play, a standard hook, and a freakin' rave whistle. Wow, and to think this alias would lead to such wonders as Cascade and My Kingdom. More representative is Pulse State, the groovy acid house number as heard on Accelerator.

Yeah, there isn't much else on The Pulse EPs that I haven't talked elsewhere, only two more tracks unique to this release within my collection. Mental Cube's I'm Not Gonna Let You Do It is a nice, simple, retro-future techno jam, but Smart System's Zip Code is little more than a standard rave bosher. Still, I love hearing Calcium again, even if in slightly edited form. In fact, there's a lot of 'slight edits' on here, a consequence of cramming four EPs onto a single CD. I think this is a better overall compilation of early FSOL material compared to Earthbeat, but it's not the whole story, and with a quarter of it re-appearing on Accelerator, a bit redundant to completists.

Wednesday, December 28, 2022

Speedy J - Pull Over

Music Man Records: 1991/2021

This has to be the dumbest thing Speedy J has ever made. Yes, even dumber than its spiritual twin sister, Something For Your Mind - at least that one has a slightly redeemable vocal? And I'm not talking about my 'good' kind of dumb, which one could argue a lot of his post-Loudboxer techno is. Y'know, that blunt, no-holds-barred kind of pummelling rhythmic action that doesn't require much in the way of insightful dissection or thought to get into. No, this is just straight up dumb, spelled with a capital 'D', 'U', and 'M'. Just how dumb is this track? When Armin van Buuren was doing his little 'updating tunes that inspired me' series, of all the Speedy J tracks he could have chosen, he chose this one. That's how dumb this track is!

Don't worry about me calling Pull Over the dumbest thing to Speedy J's name, tho'. I'm sure Jochem would agree. Despite its massive success as a cross-over hit and an early Dutch rave 'classic', he never, ever wanted to go down this route again. Heck, I wonder what compelled him to do such a tune in the first place? Peer pressure from his fellow Dutchmen, to unleash the inherited Dutchiness lurking in his lineage?

It's certainly unlike anything he'd been releasing on Plus 8 Records to that point, which admittedly hadn't been much yet. Maybe that Minimal track, if it had only focused on the rhythm. But Pull Over doesn't. Almost immediately, that utterly inane looping 'hook' makes its presence felt, just mindlessly going on its single note, with its single pitch bend. And it never, ever stops, just sucking the whole way through. No matter how many fancy little drum fills Speedy J tries to get you hype around it, the hook carries on, sucking. You might say it helped inspire hard house, but that's like saying Family Guy helped inspire The Cleveland Show.

The First Remix is almost a tad less sucky, in that the beats have a bit more momentum going for them. The Speedy One also gets a little more playful with that hook, occasionally stretching the pitch bend out so the hook almost ends up sounding like a siren, and even adding a little reverb effect. Actually, no, that makes it even worse. I don't want to hear this stupid-ass hook any more than I need to, and no amount of knob twiddling will help it.

Second Remix, then, that's where it's at. Yeah, the noise that makes up Pull Over's hook is still present, but it's reduced to nothing more than a single stab no more prominent than an off-beat bassline. This version is all about d'em beats, man, and here's the Speedy J that would go on to such bangin' classics like Kreck. Well, in a primordial form at least.

The Bandcamp re-issue also includes an Original Cassette Tape version, and it's... just Pull Over again, but slower. Hard... Pass... Over...

Sunday, December 25, 2022

Speedy J - Public Energy No. 1

Plus 8 Records: 1997/2021

It's weird to think of a Speedy J album as contentious, but as I scoured about for impressions of Mr. Paap's third album, that does seem to be the case. I get it though, I really do. G Spot was an almost impossible record to meet follow-up expectations with, at least without rehashing a bunch of the same ideas again. Jochem though, he don't play like that, always in a state of change and exploration (until he settled upon 4am bangin' techno as his bread 'n' butter). Still, while Public Energy No. 1 is far from as wild a departure from Speedy J of old as it could have been (just check out the singles prior to its release for an idea), it's certainly more abrasive than much of his previous catalogue.

You know you're in for something harder and challenging when opener-proper Patterns emerges. Things seem on a nicely tranquil, melodic tip for the lead in, then over-driven, distorted broken beats get bit crunched and digitally spewed back out into your face. Oh, we're doing that IDM thing, like Aphex Twin and μ-Ziq, are we? Well, sure. I mean, Mike Paradinas did offer a remix on Ni Go Snix, so it's only natural that some of those influences would start emerging into Jochem's sound. Still, unlike the remix of Patterns' single, there's more of a melodic through-line in the album version, keeping things at least a little accessible for those looking for more Fills.

There's a definite push-pull going on with Public Energy No. 1, Jochem clearly anxious to get more experimental in his techno outings, but still feeling it necessary to give his fans what they're familiar with. In-Formation carries on with the crunchier beatcraft, all the while maintaining an eerie atmosphere with airy pads. Pure Energy is basically Speedy J going big-beat. Drainpipe is basically Speedy J going trip-hop. Haywire hints at more digital abrasion, but still finds the time to work in some quite pleasant pad work, while Hayfever carries on the beats while saying nuts to anything melodic. And just to show these new-form sonic adventures aren't everything Jochem's been influenced by, Melanor's's sinewy ambience, Tesla's dusty ambience and Canola's abstract ambience reaches well into '70s synth weirdness.

And that's pretty much the album fully detailed, over and done in little over a paragraph. For sure the music's fine, but it doesn't have the same talking points as other Speedy J records do. Maybe some discourse about how Jochem continued evolving and all, but when stacked against his larger body of work, Public Energy No. 1 is very much a stepping-stone LP. The sublime melodic moments of records past, or the take-no-prisoners techno workouts of records future, simply aren't present here. I feel like this was a necessary album for him to get out of his system, to show he could continue down roads less ventured. Whenever I reach for a Speedy J album to play, however, this one doesn't sit high on the pile.

Thursday, December 22, 2022

Various - Psychotrance 2: Darren Emerson

Moonshine Music: 1994

Why have I put off returning to the Psychotrance series for so long? It certainly isn't because of dashed expectations. I've long known these early editions are almost entirely devoid of trance – I only listened to one to come to that conclusion. Could my techno sensibilities simply refuse the titles out of hand, a quirky artifact of '90s compilation marketing gimmicks? I don't see why not, but something else always twigged me. Lack of DJ familiarity, that's it. Or at least, somewhat. Like, I know who Mr. C is. I know who Slam is. I know who Darren Emerson is. Eric Powell though? Daz Saund? Utter blanks.

No, I must be honest with myself. The only reason I've skimped on early Psychotrance CDs is because I just haven't ever found them around on the cheap. Or rather, I haven't made the effort to find them on the cheap. I'm sure Lord Discogs' marketplace has plenty, but eh... Unless they happen to be in a seller's stash I'm already buying from, they just don't register high on my 'Want' list.

They should be though, if Darren Emerson's set is representative of just how bangin' these CDs can go. Yeah, there's precious little trance here. Even the most liberally minded genre enthusiasts couldn't argue that Josh Wink, The Advent, Dave Angel, or Acid Jesus (aka: early Alter Ego) were ever considered trance. This is a techno set through and through, with ample amounts of acid and Detroit futurism. I suppose the more shocking thing about Psychotrance 2 is that it comes from Darren Emerson, whom a great many only knew as part of Underworld at the time. He had a robust DJ career before that though, and carried on with gigs on the side while maintaining his role of Awesome Beatmaker with Karl and Rick. Psychotrance 2 was his first official mix CD, though I don't think much hullabaloo was made over it. Dude didn't even get his name on the front cover!

Anyhow, supposing someone picked this up because of that Underworld connection, I do wonder what their initial reactions would be. We're dropped in Detroit techno's domain quite early, by only second track Son Of Norma from Norma G (technically Dutch, but the Detroitism is undeniable). Following that is the brisk acid stomper Liquid Summer from Josh Wink, and the pace only quickens from there. Stefan Robbers' Validate (Funkybizmix) gets a little trancey (pst, it's that 'Norma G' fella' again), but then Nüw Idol's Zim brings us right back to some future-shock neo-urban broken-beat business (with a melodic assist from Acid Jesus' Move My Body). This, from the Underworld guy!

Did I mention this is also a live set? Okay, maybe that's not as impressive - a lot of mix CDs (without access to fancy studios) were recorded live back then. It just caught me off guard hearing a bunch of scratches in a supposed 'trance' set. Yeah, yeah, Psychotrance was never about trance. Damn Moonshine marketing.

Saturday, December 17, 2022

Devroka - Processor Overlord

Intellitronic Bubble: 2020

Boy, it's been a spell since I talked up this label, eh? I've a whole pile of material from them sitting in my queue, but because of that niggling, OCD, alphabetical sorting of mine, most of them have been languishing in the “#”s. Yeah, there's properly titled albums as well, but as it so often goes, many of them hang out in the “S” group, or the “W” gang. These things take time attending to, especially when, in the meanwhile, one buys up a few full discographies of other artists.

Intellitronic Bubble mostly started out as a typical techno label, releasing EPs, with compilations plucking the highlights along the way. It wasn't long before they dipped into the albums market though, Norken & _Nyquist leading the charge (because of course Lee would). Tradition dictates a slew of other albums from artists of similar ilk would come next, but I.B., they did something a little funky in doing so: releasing paired-albums! As in, each release would, in fact, be two, bundled together. Certainly a different way of doing things, but hey, I'm game, unable to resist getting more bosh for my buck. Ironically, the album I'm reviewing today is from a bundle I didn't spring for, as its paired LP is a re-issue of Skua Atlantic's Atlantic Fusion, a CD I already have. There's a story for this being the case, but eh, you're here to read about music, not my music buying adventures.

So Devroka. I knew nothing about this artist going in, which is always fun for those critical first impression. And said impressions are... holy shit, this is some retro electro! Pure robot body muzik, but, like, second wave, when Anthony Rother and Boris Divider were reviving the genre for the new millennium. The broken beats, the menacing digital atmosphere, the vocoder voice rapping about vector grids and cybernetic wars. I know Intellitronic Bubble dabbles as much with electro as it does Detroit techno and funky IDM, but I never expected something so distilled and pure from them either.

And it gets even wilder, as the man behind Devroka is none other than Devin Underwood. You might remember him from such reviewed projects as Gapfield and Specta Ciera. Yeah, one of those ambient guys! I've heard hints of his muse drifting in sci-fi directions, but never would I have imagined he had a full-blown robot revolution work within him. Then again Anthony Rother also appeared on Fax+, so maybe there's more crossover among electro and ambient guys than I was led to believe.

Anyhow, as cool as it is hearing electro of this sort, Processor Overlord is kinda' one-note as an album experience. There's some variety - Alleyway goes more technobass, Reverse Thruster more laid-back, Blockade less menacing, Vector Skyline way chill – but the electro aesthetic dominates throughout. I guess that makes sense when you have 'overlord' in your album title. You will get down to these sounds, even if you have the grace of a cyber-giraffe.

Tuesday, December 13, 2022

Various - positivesource 'Bundle'

positivesource: 2022

Two 'label compilations as Bandcamp downloads' in a row now. Do I have any more? Eh, not in the pipeline, but it is funny how this pair lined up, especially as they couldn't be further apart in genre if they tried. Well, okay, maybe if that Green Bay Wax print was actually nosebleed hardcore, and positivesource was lowercase ambient, then yes, that's about as opposite extremes as it gets.

And I suppose there is some similarity, if not in genre, then definitely in manifesto. Whereas Green Bay Wax is all about that ol' skool jungle, positivesource seems to be all about that ol' skool techno-trance. Yes, I'm talkin' early '90s, Harthouse-era, high-BPM spaced-out trance-trance. When I say no genre dies, I ain't tellin' lies.

The label is an off-shoot of Blue Hour, a print helmed by an artist of the same name, though goes by Luke Standing when dealing with the German auto license depot. It started as an outlet for his own techno material, but gradually grew to incorporate other artists, and now a sub-label with positivesource. Three four-track compilation records were released over the course of a year, which provided just enough material for a charmingly retro 'label compilation' consolidating it all. Now if only there was a CD option, the '90s retro feels with this release would be complete.

And right from the jump, we're dropped into the brisk BPM business, Oprofessionell's SXTOOL pushing the pace pretty high, far higher than cavernous dub techno of this sort ever dares to tread. Still, this is more of a minimal outing, and I promised trance. Wh'ar tha' trance, wh'ar? Follow-up Maniac from Newa gets us closer, with a rolling bassline and punchy synth stabs that tease out brighter chords over its seven minute run-time. And... are those choir pads I hear, towards the end? That's about as ol' skool trance as it gets, ain't it? If that's not 'trance' enough for you, then here's Alan Backdrop's Liaq, with floating pads, burbling acid, and flanged-out percussion that's gotta' get your Oliver Lieb triggers flaring. Not to mention the follow-up to that, Rove Ranger's Future Starts Today, is some straight-up vintage Spicelab action.

Other tracks, like Lady Starlight's G 3.1, Mikkel Rev's Entrance, and Less Distress' Crush The Candy, recall the Platipus side of trance, while Blue Hour reaches back even further to ravier roots on Flashback. And what classic trance compilation would be complete without those weirdo techno cuts that defy easy classification, such as LDS' too-fast t.m. (fm mix), or the oppressive minimalist dub-drone of Ryan James Ford's Purity, or the distorted acid stomp of D.Dan's Raw Jam. A little something for everyone!

Does this 'bundle' promise a proper trance revival then? Eh, no more than Green Bay Wax does for darkside jungle. This is still very niche music in today's clubbing culture, but it warms this old raver's heart knowing it is out there, for those who wish to hear it.

Saturday, December 10, 2022

Various - Planet Wax Volume 1

Green Bay Wax: 2021

Once again proving the old adage that 'no genre truly dies', here's Green Bay Wax, putting the music where their mouth is. Or at least, keeping the ol' school jungle vibes alive and well into the modern era. What's funny is, some of their stuff, particularly the ragga jungle cuts, don't sound dated in the slightest. Maybe it's because, unlike most genres that get a revival, ragga never really fell off because it hadn't 'gotten on' in the first place. Like, whenever I hear some contemporary tech-step or darkside or darkstep, I'm taken back to when those sounds first imprinted onto the d'n'b scene. Ragga though, always remained this forever-niche thing, unable to take root to any specific time or place. Thus, its timeless, the tracks offered by Kid Lib & Percussive P on this compilation sounding just as fresh today as they did when they were released a decade ago as they could have two decades prior during the genre's birth.

That isn't to say the rest of this label showcase doesn't have jungle worthy of your attention. I just find it funny how some tracks sound so very, very old school, deliberately so, but the ragga stuff, it just can't age, won't age in the slightest. You say it hasn't evolved since its inception? Mang', that's it's whole appeal! Its recognizable tropes – spastic Amen Break manipulations, knee-cap demolishing basslines, incomprehensible toasting rastas – are its appeal, needing nothing else sullying things up, the core elements working best. Ragga jungle: the horseshoe crab of the d'n'b scene.

Enough waxing on about genres. What's up with this compilation, then, and who is Green Bay Wax? Not based out of Wisconsin, but rather Sheffield, the label is a loosely tied group of ol' school jungle enthusiasts making tunes with propah' vintage vibes and nothing else. Yeah, the ragga stuff doesn't sound quite so retro, but when other artists pop in with their love-in's, you can't help but be transported to the early '90s. With the label's original vinyl releases well out of print, Green Bay Wax felt it about time to compile their catalogue into a series of double-LP digital compilations. Y'know, for those who discovered them late (*cough*). Volume 1 naturally sums up their first five releases, so let's take a quick gander.

I've already covered Kid Lib & Percussive P's ragga takes (kinda'), so let's move onto some Champa B, who gets into some gnarly darkside business while never losing his hardcore. And speaking of, Bazia's Lovin' You is pure, unashamed ol' skool, what with the piano lines and synths stabs and wistful soul singing: proto-jungle! Further along, tracks from Phineus II and Darkman (with Kid Lib on the rub ...a lot), inch towards the more atmospheric and 'intelligent' side of the genre, what with pads and drum programming that's just a little more complex than your standard Amen rat-a-tat-tat-tles. Day'um, feels like I've just taken a crash-course in all of jungle's early permutations with this one.

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. 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