Carpe Sonum Novum: 2020
I've passively mentioned the need to dig deeper into Gabriel le Mar for years now, so it's about time to properly poop in that pot (or however that saying goes). What CDs to get, though? Something off the defunct Spirit Zone Recordings? That undoubtedly rare Reel Time (because anything off Elektrolux is rare at this point)? The most eye-popping item from his Capre Sonum Novum catalogue? Oh, but Flashin' On is already sold-out, darn it all.
That... is actually happening more frequently with Carpe Sonum, come to think of it. Even newer items, like Dr. Atmo's To You, Humanity, and Sven Kössler's Bck T• Lvng, run out swiftly. To say nothing of whatever edition of that Pete Namlook tribute box-set Die Welt Ist Klang is up to now. Man, and here Carpe Sonum was, that ambient techno label you could count on not running out of their limited-run CD stock.
Anyhow, I settled on Shared Fictions, for two reasons. One, it was the most recent item from Mr. le Mar when I happened by the Bandcamp shop – not much more scientific than that, my friends. Still, the fact it was a double-LP made the deal a little bit sweeter. Sure, the second CD is another of Gabriel's 'stripped' sessions, providing beatless versions of tracks off the album proper, but that's a gimmick I'm game for another round after hearing it on his first Stripped release.
The PR blurb has Mr. le Mar claiming inspiration from the fantastical literature and stories of human history, which he wished to express through... only eight tracks? Huh, well, there's something to be said for being concise. Still, though there are some elements of such within the titles (Stay In Wonderland, World Tree, Mythical Past, etc.), I can't really say the same for the music on hand. By and large, this is a collection of tight, groovy psy-dub tunes, with little in the way of post-Shpongle influenced waffle. Sometimes the acid gets a good workout (Deep Focus, Collective Dreamworld), elsewhere Gabriel works in a little guitar jamming, and gosh, that bass playing in City Of Thoughts sure seems familiar. Wait a moment... *checks liner notes* Okay, it's not him. Didn't think so, as the bass tone didn't quite match. Can't blame me for thinking ol' Laswell might have been hanging about for a session though, as this tune really does sound like one of his.
So even if the theme of Shared Fictions seems muddled, the psy-dub on hand is dope enough to not worry about it. How does the bonus disc fare, then? It's certainly a different vibe, and not just because the lack of propulsive rhythms. Tracks are rearranged so they flow more like a downbeat album compared to Shared Fictions Prime, and it's not like they're totally absent of groove either. You just have less things going on, letting you focus on specific details over a grand picture. It's like watching the subbed version of a foreign film.
Wednesday, February 8, 2023
Sunday, February 5, 2023
Dance With The Dead - The Shape
Neuropa Records: 2016/2017
Yep, another Dance With The Dead review. This will be the last of 'em for quite a while though, their remaining releases way up in the front-half of the alphabet. Believe you me, it's gonna' be a lo-o-o-ong while before I loop around to the beginning of my queue again. How long? Hell, I'll be lucky to finish off my current clutch of 'S' albums before the start of spring!
The Shape is a significant album from the band for yours truly, in that it's the only one I have a physical copy of. How can that be though? Isn't the whole catch of bulk-buying a Bandcamp discography that it must be in a digital format? Erm, no? Like, I just did the same for Suntrip Records, not to mention others offering their catalogues on whole as well (Ultimae Records, to namedrop just one). But yes, it is rare, and typically only done through label offers, not artist pages. Plus, it's not like Dance With The Dead had such a deal available either. Did I simply buy a CD from the label re-issuing their catalogue then? Huh, never occurred to me to check out Neuropa Records. What are they, the Belgian version of Blood Music?
Regardless, I have this CD for no other reason than I bought it from the band's swag table. Yes, instead of laying down my last $20 on a couple more 'cheap' beers, I got myself a souvenir instead. Look, the counter was taken mostly up by Magic Sword's paraphernalia: t-shirts, stickers, posters, comic books, etc. All Dance With The Dead had was CDs and vinyl. Gotta' stick with what I collect, y'know?
Anyhow, let's talk about The Shape. As if the John Carpenter influences weren't clear before, the title comes from the actual name for Halloween slasher-star Michael Myers, as often referred to in script and novelization. Obviously this is common knowledge for fans of the franchise, but I feel like I'd be tut-tutted if I didn't at least mention it. I'm actually a bit surprised the cover-art didn't incorporate it somehow, instead going with this campy gothic horror motif instead.
Their third full-length, The Shape is Dance With The Dead finding their final form, hitting all the sweet spots that makes their blend of synthwave and shredding metal so endearing. The straight-up head-bangers (Eyes Of Madness, Screams And Whispers, Riot... holy Hell, is this one epic!), the slower, rugged chuggers (Diabolic), the more melodic driven numbers (Her Ghost, Watching You), the obligatory 'ballads' (Adrift, Quietly Into The Night), and that one track that feels like an entirely different genre. Seriously, add a little acid and Horizon would be a dead-ringer for some vintage S.U.N. Project. Buttrock goa will never die!
A good introduction to the band, then? Well, you could say that about any of their records after 2015, but yes, if you still haven't been zombie bit by them, The Shape is as solid as any of their albums to get infected by.
Yep, another Dance With The Dead review. This will be the last of 'em for quite a while though, their remaining releases way up in the front-half of the alphabet. Believe you me, it's gonna' be a lo-o-o-ong while before I loop around to the beginning of my queue again. How long? Hell, I'll be lucky to finish off my current clutch of 'S' albums before the start of spring!
The Shape is a significant album from the band for yours truly, in that it's the only one I have a physical copy of. How can that be though? Isn't the whole catch of bulk-buying a Bandcamp discography that it must be in a digital format? Erm, no? Like, I just did the same for Suntrip Records, not to mention others offering their catalogues on whole as well (Ultimae Records, to namedrop just one). But yes, it is rare, and typically only done through label offers, not artist pages. Plus, it's not like Dance With The Dead had such a deal available either. Did I simply buy a CD from the label re-issuing their catalogue then? Huh, never occurred to me to check out Neuropa Records. What are they, the Belgian version of Blood Music?
Regardless, I have this CD for no other reason than I bought it from the band's swag table. Yes, instead of laying down my last $20 on a couple more 'cheap' beers, I got myself a souvenir instead. Look, the counter was taken mostly up by Magic Sword's paraphernalia: t-shirts, stickers, posters, comic books, etc. All Dance With The Dead had was CDs and vinyl. Gotta' stick with what I collect, y'know?
Anyhow, let's talk about The Shape. As if the John Carpenter influences weren't clear before, the title comes from the actual name for Halloween slasher-star Michael Myers, as often referred to in script and novelization. Obviously this is common knowledge for fans of the franchise, but I feel like I'd be tut-tutted if I didn't at least mention it. I'm actually a bit surprised the cover-art didn't incorporate it somehow, instead going with this campy gothic horror motif instead.
Their third full-length, The Shape is Dance With The Dead finding their final form, hitting all the sweet spots that makes their blend of synthwave and shredding metal so endearing. The straight-up head-bangers (Eyes Of Madness, Screams And Whispers, Riot... holy Hell, is this one epic!), the slower, rugged chuggers (Diabolic), the more melodic driven numbers (Her Ghost, Watching You), the obligatory 'ballads' (Adrift, Quietly Into The Night), and that one track that feels like an entirely different genre. Seriously, add a little acid and Horizon would be a dead-ringer for some vintage S.U.N. Project. Buttrock goa will never die!
A good introduction to the band, then? Well, you could say that about any of their records after 2015, but yes, if you still haven't been zombie bit by them, The Shape is as solid as any of their albums to get infected by.
Saturday, February 4, 2023
Eskostatic - Serpentines & Valleys
Ultimae Records: 2019
I just can't stop giving Ultimae chances, can I? It's like, my interest drifts, thinking the label I once adored has forever moved onto a sound that, while I don't dislike, am not in any hurry to rush out hearing more of either. Then I'll hear something that sparks my synapses again, some fresh wrinkle or genre exploration I hadn't considered being given the exquisite Ultimae Mixdown™. Next thing you know, I'm blind-buying another clutch of CDs, almost always based upon what cover art intrigues me the most. And this Serpentines & Valleys, it doth intrigue me indeed. What are those, dirt bike paths? Rally car race courses? Whatever the case, it's certainly unique among Ultimae's typical focus on natural land forms, no denying the touch of man in this environment. Eskostatic? Never heard of this artist before, so maybe someone new to the Ultimae ranks. Sure, let's pick that sucker up!
And opener Sky Cottage hints at some vintage Ultimae sounds, a simple drone and spritely bit of subtle melody slowly emerging. Half-way through this piece, a deep, digital bass throb glitches in and out, the sort of dub techno that gradually came to define much of the label's more recent output. In fact, the more I hear it follow-up Morning Star, it starts sounding rather familiar. Wait, is this...? *checks liner notes* Ah, Martin van Rossum, also known as Martin Nonstatic, one of Ultimae's regulars now, and an artist I really haven't kept tabs on. His Granite and Nebulae Live At The Planetarium releases just never inspired me to do so. I sometimes think maybe I should, perhaps an album or EP exploring a different facet of his technical dub techno that might latch on properly. Sadly, I can't say this collaboration with Esko Barba (Marcel Montel) does much in getting me hype to hear more.
There's twelve tracks on this album, and most of them follow a similar pattern: spacious ambient drone, ultra-deep dub-glitch bass, with occasional upping of the tempo going from a cool simmer to a gentle bubbling. Some tracks have a more prominent feature added, like the acid in Coastline, guitar in Viamala, or the relatively 'epic' build of the titular cut, but with music performed so subtly, you're gonna' have to really be paying attention to notice the differences. It almost feels like they made a standard track, then someone (Mr. Villuis himself?) kept saying, “No, you need to pull it back more. No, pull it back more. No, more subtle, less obvious leads!”
Again, I don't dislike what I'm hearing on Serpentines & Valleys, but it sure doesn't go out of its way to lure me in either. It basically needs a deluxe, high-grade sound system (or damn fine headphones) to get enough out of its nuances, with no distractions pulling your attention this way or that. As for Martin Nonstatic, I guess I still haven't quite clicked with him either. Maybe one more try, down the road. And another, and another...
I just can't stop giving Ultimae chances, can I? It's like, my interest drifts, thinking the label I once adored has forever moved onto a sound that, while I don't dislike, am not in any hurry to rush out hearing more of either. Then I'll hear something that sparks my synapses again, some fresh wrinkle or genre exploration I hadn't considered being given the exquisite Ultimae Mixdown™. Next thing you know, I'm blind-buying another clutch of CDs, almost always based upon what cover art intrigues me the most. And this Serpentines & Valleys, it doth intrigue me indeed. What are those, dirt bike paths? Rally car race courses? Whatever the case, it's certainly unique among Ultimae's typical focus on natural land forms, no denying the touch of man in this environment. Eskostatic? Never heard of this artist before, so maybe someone new to the Ultimae ranks. Sure, let's pick that sucker up!
And opener Sky Cottage hints at some vintage Ultimae sounds, a simple drone and spritely bit of subtle melody slowly emerging. Half-way through this piece, a deep, digital bass throb glitches in and out, the sort of dub techno that gradually came to define much of the label's more recent output. In fact, the more I hear it follow-up Morning Star, it starts sounding rather familiar. Wait, is this...? *checks liner notes* Ah, Martin van Rossum, also known as Martin Nonstatic, one of Ultimae's regulars now, and an artist I really haven't kept tabs on. His Granite and Nebulae Live At The Planetarium releases just never inspired me to do so. I sometimes think maybe I should, perhaps an album or EP exploring a different facet of his technical dub techno that might latch on properly. Sadly, I can't say this collaboration with Esko Barba (Marcel Montel) does much in getting me hype to hear more.
There's twelve tracks on this album, and most of them follow a similar pattern: spacious ambient drone, ultra-deep dub-glitch bass, with occasional upping of the tempo going from a cool simmer to a gentle bubbling. Some tracks have a more prominent feature added, like the acid in Coastline, guitar in Viamala, or the relatively 'epic' build of the titular cut, but with music performed so subtly, you're gonna' have to really be paying attention to notice the differences. It almost feels like they made a standard track, then someone (Mr. Villuis himself?) kept saying, “No, you need to pull it back more. No, pull it back more. No, more subtle, less obvious leads!”
Again, I don't dislike what I'm hearing on Serpentines & Valleys, but it sure doesn't go out of its way to lure me in either. It basically needs a deluxe, high-grade sound system (or damn fine headphones) to get enough out of its nuances, with no distractions pulling your attention this way or that. As for Martin Nonstatic, I guess I still haven't quite clicked with him either. Maybe one more try, down the road. And another, and another...
Thursday, February 2, 2023
Various - Serenity Dub 2.1 p.m.
Incoming!: 1995
Even for short-lived '90s ambient dub and techno labels, Incoming! feels among the most short-lived of them all. I mean, probably not, in that it had a three year run with a few home-grown acts sustaining it in that time. I even crossed paths with the print once, via S.E.T.I.'s The Geometry Of Night, as fine an example of the darker, more paranoid side of downtempo dub as I'd ever heard from that era. That seemed a chance encounter though, so who knows if I'd have stumbled upon any other Incoming! releases in those years, much less be as drawn to cover art. Maybe that Golden Star CD from Nonplace Urban Field? Or the warped speakers from the compilation Submerged – A Collection Of Blooming Breaks + Bulging Beats - that looks a little familiar.
Regardless, as is tradition with many labels starting out, a compilation or two showcasing their musical manifesto doesn't hurt, and Incoming! did the deed with a pair titled Serenity Dub. I got the second one because, well, I knew more names on it than the first. Names like Rapoon, Biosphere, S.E.T.I., Loop Guru, Scanner, and Mouse On Mars.
Those first four, I already had their tracks, though you can't blame me for not recognizing them as such. Like, I find Rapoon's Vernal Crossing a captivating listening experience, even gave Bol Baya Ace Track honours, but that still don't mean I can I.D. the piece blind. As for Biosphere, Botanical Dimensions kinda' gets overshadowed by Novelty Waves as the highlight off Patashnik. Same can be said for Loop Guru's Tchengo as heard of Duniya. That's all the familiar tunes though. Let's hear what fresh dub music I get to experience for the first time on Serenity Dub 2.1 p.m.
The CD opens with Transonic's Low Space Monitor. Hm, I know that name, but from where...? *THAT bass tone emerges* Oh, it's another Bill Laswell joint. Of course it is. Actually, a pairing with Robert Musso, where the two dropped a few albums over on Fax+. Interesting get for Incoming!, but their world beat vibe does fit. The dub business carries over onto Nemesis Dub System's Caravan (In Dub), a rather dated instrumental, even for '95.
Further along, Scanner does another of his noir-ish downtempo tunes as radio chatter chatters about, while the always interesting Mouse On Mars gets in on some early sound experiments with a minimalist dub throb. Their Chagrin grows very chill over time with relaxing layers of reverb and echo – serenity indeed. Following that, Cosa Nostra almost goes pure space noir on This Thing Of Ours, with ultra-dreamy pads and trumpet playing. Damn, now I want to watch some Cowboy Bepop.
Rounding out the rest are Seefeel and Unitone Hifi with some dubby jams (weirdo shoegaze-reggae and world beat, respectively), and you have about as well-rounded a collection of '90s underground dub music as you could hope for. Well, if you're starting a label promoting the stuff, at least.
Even for short-lived '90s ambient dub and techno labels, Incoming! feels among the most short-lived of them all. I mean, probably not, in that it had a three year run with a few home-grown acts sustaining it in that time. I even crossed paths with the print once, via S.E.T.I.'s The Geometry Of Night, as fine an example of the darker, more paranoid side of downtempo dub as I'd ever heard from that era. That seemed a chance encounter though, so who knows if I'd have stumbled upon any other Incoming! releases in those years, much less be as drawn to cover art. Maybe that Golden Star CD from Nonplace Urban Field? Or the warped speakers from the compilation Submerged – A Collection Of Blooming Breaks + Bulging Beats - that looks a little familiar.
Regardless, as is tradition with many labels starting out, a compilation or two showcasing their musical manifesto doesn't hurt, and Incoming! did the deed with a pair titled Serenity Dub. I got the second one because, well, I knew more names on it than the first. Names like Rapoon, Biosphere, S.E.T.I., Loop Guru, Scanner, and Mouse On Mars.
Those first four, I already had their tracks, though you can't blame me for not recognizing them as such. Like, I find Rapoon's Vernal Crossing a captivating listening experience, even gave Bol Baya Ace Track honours, but that still don't mean I can I.D. the piece blind. As for Biosphere, Botanical Dimensions kinda' gets overshadowed by Novelty Waves as the highlight off Patashnik. Same can be said for Loop Guru's Tchengo as heard of Duniya. That's all the familiar tunes though. Let's hear what fresh dub music I get to experience for the first time on Serenity Dub 2.1 p.m.
The CD opens with Transonic's Low Space Monitor. Hm, I know that name, but from where...? *THAT bass tone emerges* Oh, it's another Bill Laswell joint. Of course it is. Actually, a pairing with Robert Musso, where the two dropped a few albums over on Fax+. Interesting get for Incoming!, but their world beat vibe does fit. The dub business carries over onto Nemesis Dub System's Caravan (In Dub), a rather dated instrumental, even for '95.
Further along, Scanner does another of his noir-ish downtempo tunes as radio chatter chatters about, while the always interesting Mouse On Mars gets in on some early sound experiments with a minimalist dub throb. Their Chagrin grows very chill over time with relaxing layers of reverb and echo – serenity indeed. Following that, Cosa Nostra almost goes pure space noir on This Thing Of Ours, with ultra-dreamy pads and trumpet playing. Damn, now I want to watch some Cowboy Bepop.
Rounding out the rest are Seefeel and Unitone Hifi with some dubby jams (weirdo shoegaze-reggae and world beat, respectively), and you have about as well-rounded a collection of '90s underground dub music as you could hope for. Well, if you're starting a label promoting the stuff, at least.
Labels:
1995,
ambient techno,
downtempo,
dub,
Incoming,
reggae,
world beat
Wednesday, February 1, 2023
ACE TRACKS: December 2022 - January 2023
Such a busy past couple of months. Yeah, December is rather hectic regardless, but all the snowy weather put an extra bit of craziness on the usual activities - never thought I'd get stranded at an afterparty because of white-out conditions! January though, that's usually the downiest stretch of days, winter doldrums hitting me as hard as they ever do (November typically a close second, damn loss of daylight), but getting a bit obsessed about physical activity kept me well enough distracted, perhaps did good for my mental health. Or maybe not, getting at times dejected when the amount of work I put into burning calories some days would yield only small changes compared to others. I think I simply found my limit though, what my body's willing to endure without going to extreme measures that no one should. No, not even Hugh Jackman when getting ready for his Wolverine abs photo-shoot!
Anything else? Oh, I just happened to buy the entire catalogue of Suntrip Records off Bandcamp:
Man, between this and that bulk-buy of Natural Life Essence's label, 2023 is looking stacked for specific genres. May need to bulk-buy some other labels just to space things out some. Damn you, Bandcamp, and your bulk-buy options! Anyway, here's the ACE TRACKS for the last 60 days:
Full playlist here.
MISSING ALBUMS:
CYPHER 7 - Security
DEVROKA - Processor Overlord
Various - Planet Wax Vol. 1
PERCENTAGE OF HIP-HOP: 0%
PERCENTAGE OF ROCK: 0%
MOST "WTF?" TRACK: Unless you're already familiar with his turn towards IDM, some of the latter era Speedy J.
Yeah, lot's of Speedy J, which is kinda' new to these playlists now that he's finally added his back-catalogue to all streaming services. Usual assortment of tracks from those other artists I bulk-bought from (Lucette Bourdin, Dance With The Dead), plus a fair bit of other ambient, but some techno and new trance too! Fairly typical playlist from me, all said.
Anything else? Oh, I just happened to buy the entire catalogue of Suntrip Records off Bandcamp:
Man, between this and that bulk-buy of Natural Life Essence's label, 2023 is looking stacked for specific genres. May need to bulk-buy some other labels just to space things out some. Damn you, Bandcamp, and your bulk-buy options! Anyway, here's the ACE TRACKS for the last 60 days:
Full playlist here.
MISSING ALBUMS:
CYPHER 7 - Security
DEVROKA - Processor Overlord
Various - Planet Wax Vol. 1
PERCENTAGE OF HIP-HOP: 0%
PERCENTAGE OF ROCK: 0%
MOST "WTF?" TRACK: Unless you're already familiar with his turn towards IDM, some of the latter era Speedy J.
Yeah, lot's of Speedy J, which is kinda' new to these playlists now that he's finally added his back-catalogue to all streaming services. Usual assortment of tracks from those other artists I bulk-bought from (Lucette Bourdin, Dance With The Dead), plus a fair bit of other ambient, but some techno and new trance too! Fairly typical playlist from me, all said.
Saturday, January 28, 2023
Dance With The Dead - Send The Signal
self-release: 2014
Spare some time for an anecdote?
The setting, a little post-clubbing afterparty, which is always nice being at when you're not quite ready for a night to be over. I didn't know these folks in the slightest, but sometimes the conversations you're having are just too good to let die. Still, it became clear to me that our musical tastes weren't so compatible. Lots of Drake, Bieber and the like being played, plus they could tell I was one of those guys, who knew too damn much about music (guilty as charged). But that's fine, I was having a fun enough time chit-chatting about other things (and watching the World Cup Final), so whatever music was playing wasn't a concern for me. Until it was.
At some point, I suggested music a bit more 'peppy', to which I was put on the spot to recommend something. Friends, that has to be the worst thing for me to be asked! Of all the music I know of, I now have to pare it down to just a singular song that my new one-night clubbing pals might enjoy. For some reason, my mind went to Dance With The Dead. It went over like an iridium weight in the atmosphere of Saturn.
I bring this up because, for a time after, I had a crisis of faith, a flailing sense of doubt over my own taste in music. Yeah, I know not everyone will dig what I dig, just as I won't dig what everyone else will dig, but surely Dance With The Dead was bullet-proof? How can some folks not get hype to those pounding darksynth rhythms, the soaring John Carpenter synth leads, and Tony Kim's righteous shredding?
I realize I may have over-committed to this band in buying their entire catalogue off Bandcamp, but man, perhaps I was wrong about enjoying the duo all along. Might they have always been cheesy, corny, and just not cool? Am I so out of touch? I mean, sure, I was one of the 'geezers' when I went to go see them in concert last year, throwing up devil's horns among a crowd of millennials, but might synthwave already be past its prime, with me clinging to a nostalgia of... *checks calendar* a decade old?
Then I listen to Poison off this Send The Signal mini-album, and all is right in the world again. Oh, Dance With The Dead, I can never stay doubtful of you.
Anyhow, Send The Signal is another of the band's earlier EPs, released after the Near Dark album. As such, we're in their era where the synth leads and rhythms dominate over a given track, Tony's guitar action still mostly relegated to a bit of soloing at a track's peak, if featured much at all. Of the six songs (plus an intro), they touch on all the synthwave bases, so a nice little appetizer of the Dance With The Dead stylee. Just, y'know, don't play it for J Cole fans.
Spare some time for an anecdote?
The setting, a little post-clubbing afterparty, which is always nice being at when you're not quite ready for a night to be over. I didn't know these folks in the slightest, but sometimes the conversations you're having are just too good to let die. Still, it became clear to me that our musical tastes weren't so compatible. Lots of Drake, Bieber and the like being played, plus they could tell I was one of those guys, who knew too damn much about music (guilty as charged). But that's fine, I was having a fun enough time chit-chatting about other things (and watching the World Cup Final), so whatever music was playing wasn't a concern for me. Until it was.
At some point, I suggested music a bit more 'peppy', to which I was put on the spot to recommend something. Friends, that has to be the worst thing for me to be asked! Of all the music I know of, I now have to pare it down to just a singular song that my new one-night clubbing pals might enjoy. For some reason, my mind went to Dance With The Dead. It went over like an iridium weight in the atmosphere of Saturn.
I bring this up because, for a time after, I had a crisis of faith, a flailing sense of doubt over my own taste in music. Yeah, I know not everyone will dig what I dig, just as I won't dig what everyone else will dig, but surely Dance With The Dead was bullet-proof? How can some folks not get hype to those pounding darksynth rhythms, the soaring John Carpenter synth leads, and Tony Kim's righteous shredding?
I realize I may have over-committed to this band in buying their entire catalogue off Bandcamp, but man, perhaps I was wrong about enjoying the duo all along. Might they have always been cheesy, corny, and just not cool? Am I so out of touch? I mean, sure, I was one of the 'geezers' when I went to go see them in concert last year, throwing up devil's horns among a crowd of millennials, but might synthwave already be past its prime, with me clinging to a nostalgia of... *checks calendar* a decade old?
Then I listen to Poison off this Send The Signal mini-album, and all is right in the world again. Oh, Dance With The Dead, I can never stay doubtful of you.
Anyhow, Send The Signal is another of the band's earlier EPs, released after the Near Dark album. As such, we're in their era where the synth leads and rhythms dominate over a given track, Tony's guitar action still mostly relegated to a bit of soloing at a track's peak, if featured much at all. Of the six songs (plus an intro), they touch on all the synthwave bases, so a nice little appetizer of the Dance With The Dead stylee. Just, y'know, don't play it for J Cole fans.
Friday, January 27, 2023
Cypher 7 - Security
Subharmonic: 1995
It started with Psychonavigation, then moved on to include Divination. That only left Cypher 7 as the remaining artist from that Alien Ambient Galaxy compilation I hadn't properly indulged in yet. I wasn't so sure I would though, as from what I could glean, this project had the least amount of Bill Laswell input out of all three, his primary credit being “Navigation & Ground Control” (re: producer). Then again, the chaps behind Cypher 7 – Alex Haas and Jeff Bova – worked with Laswell on some of those Divination sessions, so there was bound to be some connective sonic tissue there. Not to mention appearing on Bill's Subharmonic label.
Then again, said label wasn't really a major focal point for the Laswellian One, more of a means to distribute some of his European releases (re: Fax+ output) on American shores, so how much attention could Cypher 7 really be given? Then again-again, Subharmonic also was where he released his take on ambient dub, so maybe the rest of Cypher 7 would lean that way? Ah, fek'it, let's just buy one of their albums should I find a Discogs seller offloading it on the cheap. Ah, here's one! Guess I'll settle with Security, as it not only has two familiar tracks on it (The Suspicious Shaman and Nothing Lasts), but has a cooler bit of cover art too.
Sure enough, opener Message Important gets into some of that vintage Laswell downtempo dub action, with a groovy rhythm, ominous string pads, a quirky sample of French resistance broadcasts, and jazzy playing with organs and bass guitar provided by, yup, Bill Laswell. Just no mistaking that bass tone. Unlike some of his lengthy jams though (this one lasts upwards of fourteen minutes), Message Important is tight and compelling as it plays through. It feels like you're immersed in some noir flick, silhouettes of smoke flowing through the shadowy cracks of a dimly lit basement.
In fact, much of Security has that vibe. Tokyo A.M is a pure, minimalist ambient piece with sparse field recordings of damp back alleys and subtle, sinewy pads, lurking in the dark of door enclaves. Following that, Benares (Open Secret) gets more operatic with opulent orchestral strings and... light Indian singing and drumming? Not quite so French noir as the other tracks, unless you want to count Moroccan into that equation. Which I will because I like me some consistent themes with my albums, yo'. And nothing says French film like having Jeanne Moreau going on about passion and love in Nothing Lasts.
Final track Falling Backwards is another moody, minimalist, experimental ambient piece. At sixteen minutes in length though, it finds room for a little dub jamming towards its end, the piece even morphing into more of an uplifting tone. Ooh, a positive outcome in a noir setting? What is this, modern Hollywood? Sadly not, as Cypher 7 would move on from the project after this. Another intriguing story of '90s underground ambient dub, cut too short.
It started with Psychonavigation, then moved on to include Divination. That only left Cypher 7 as the remaining artist from that Alien Ambient Galaxy compilation I hadn't properly indulged in yet. I wasn't so sure I would though, as from what I could glean, this project had the least amount of Bill Laswell input out of all three, his primary credit being “Navigation & Ground Control” (re: producer). Then again, the chaps behind Cypher 7 – Alex Haas and Jeff Bova – worked with Laswell on some of those Divination sessions, so there was bound to be some connective sonic tissue there. Not to mention appearing on Bill's Subharmonic label.
Then again, said label wasn't really a major focal point for the Laswellian One, more of a means to distribute some of his European releases (re: Fax+ output) on American shores, so how much attention could Cypher 7 really be given? Then again-again, Subharmonic also was where he released his take on ambient dub, so maybe the rest of Cypher 7 would lean that way? Ah, fek'it, let's just buy one of their albums should I find a Discogs seller offloading it on the cheap. Ah, here's one! Guess I'll settle with Security, as it not only has two familiar tracks on it (The Suspicious Shaman and Nothing Lasts), but has a cooler bit of cover art too.
Sure enough, opener Message Important gets into some of that vintage Laswell downtempo dub action, with a groovy rhythm, ominous string pads, a quirky sample of French resistance broadcasts, and jazzy playing with organs and bass guitar provided by, yup, Bill Laswell. Just no mistaking that bass tone. Unlike some of his lengthy jams though (this one lasts upwards of fourteen minutes), Message Important is tight and compelling as it plays through. It feels like you're immersed in some noir flick, silhouettes of smoke flowing through the shadowy cracks of a dimly lit basement.
In fact, much of Security has that vibe. Tokyo A.M is a pure, minimalist ambient piece with sparse field recordings of damp back alleys and subtle, sinewy pads, lurking in the dark of door enclaves. Following that, Benares (Open Secret) gets more operatic with opulent orchestral strings and... light Indian singing and drumming? Not quite so French noir as the other tracks, unless you want to count Moroccan into that equation. Which I will because I like me some consistent themes with my albums, yo'. And nothing says French film like having Jeanne Moreau going on about passion and love in Nothing Lasts.
Final track Falling Backwards is another moody, minimalist, experimental ambient piece. At sixteen minutes in length though, it finds room for a little dub jamming towards its end, the piece even morphing into more of an uplifting tone. Ooh, a positive outcome in a noir setting? What is this, modern Hollywood? Sadly not, as Cypher 7 would move on from the project after this. Another intriguing story of '90s underground ambient dub, cut too short.
Labels:
1995,
album,
ambient,
ambient dub,
Cypher 7,
downtempo,
Subharmonic,
world beat
Wednesday, January 25, 2023
loscil - Sea Island
Kranky: 2014
A local lad, this loscil is. Not that I realized it at the time of purchase, simply drawn to another bit of familiar cover art with a title also intimately familiar (technically grew up on a 'sea island'). Many a Pacific Northwest beach front is little more than a rubble-strewn wasteland of old cedar driftwood washed upon the shore. Ancient trees felled by strong winter winds, carried out to the ocean where they cruise along currents and tides, piling upon each other in tiny enclaves and fjords all along the coastline. Not the most inviting areas if you're looking to lounge in the sun for an afternoon, but all those dropped logs are handy in a pinch if you need to drop a log of your own.
Anyhow, Scott Morgan has been an active musician for over two decades now, at times working in bands like Destroyer, but primarily producing music as loscil, and fairly active at it too. Lord Discogs lists some thirty items to his catalogue, including works on Ghostly International and Glacial Movements Records. And while I wouldn't say his output is heavily inspired by the general grey-tone of the region's sights and weather, album titles like First Narrows, Strathcona Variations, Sketches From New Brighton, and, yes, Sea Island, will certainly get some Vancouverites' notice. To say nothing of that cover art for Endless Falls. We know that sight all too well wherever we are sat within a traffic jam.
As you may have guessed from those label name-drops, loscil primarily deals in minimalist, dubby ambient drone, with the occasional subtle techno pulse thrown in. Sometimes the music is tranquil and soothing, other times reflective and melancholy, perhaps at times amorphous and non-committal to any particular mood. Whatever you fancy, I'm sure Scott has made some iteration in the past twenty years.
Sea Island touches upon a few of these themes, a nice little soundtrack should you find yourself wandering about such a locale. The bell tones of opener Ahull brings you into the album with a bit of whimsy, even as some of the backing, throbbing synths create a sense of unease. In fact, we don't get anything quite so 'lighthearted' until Sturgeon Bank towards the album's end. In between, there's sombre pieces (Bleeding Ink, Sea Island Murders, Catalina 1943), contemplative pieces (In Threes, Holding Pattern), and gently beautiful pieces (Iona, Angle Of Loll), all performed within a warm layer of foggy dub drone.
Admittedly, the heavy use of said dub tones does give Sea Island a bit of a samey vibe throughout, so it's nice that En Masse towards the end focuses more on piano over the drone. Not that each track doesn't feature a unique sound, it's just everything tends to blend together over the course of a playthrough. That's just the loscil style though, and if you're down for that, you'll be down for Sea Island. Now if you'll excuse me, it's time for my three-hour walk in overcast skies.
A local lad, this loscil is. Not that I realized it at the time of purchase, simply drawn to another bit of familiar cover art with a title also intimately familiar (technically grew up on a 'sea island'). Many a Pacific Northwest beach front is little more than a rubble-strewn wasteland of old cedar driftwood washed upon the shore. Ancient trees felled by strong winter winds, carried out to the ocean where they cruise along currents and tides, piling upon each other in tiny enclaves and fjords all along the coastline. Not the most inviting areas if you're looking to lounge in the sun for an afternoon, but all those dropped logs are handy in a pinch if you need to drop a log of your own.
Anyhow, Scott Morgan has been an active musician for over two decades now, at times working in bands like Destroyer, but primarily producing music as loscil, and fairly active at it too. Lord Discogs lists some thirty items to his catalogue, including works on Ghostly International and Glacial Movements Records. And while I wouldn't say his output is heavily inspired by the general grey-tone of the region's sights and weather, album titles like First Narrows, Strathcona Variations, Sketches From New Brighton, and, yes, Sea Island, will certainly get some Vancouverites' notice. To say nothing of that cover art for Endless Falls. We know that sight all too well wherever we are sat within a traffic jam.
As you may have guessed from those label name-drops, loscil primarily deals in minimalist, dubby ambient drone, with the occasional subtle techno pulse thrown in. Sometimes the music is tranquil and soothing, other times reflective and melancholy, perhaps at times amorphous and non-committal to any particular mood. Whatever you fancy, I'm sure Scott has made some iteration in the past twenty years.
Sea Island touches upon a few of these themes, a nice little soundtrack should you find yourself wandering about such a locale. The bell tones of opener Ahull brings you into the album with a bit of whimsy, even as some of the backing, throbbing synths create a sense of unease. In fact, we don't get anything quite so 'lighthearted' until Sturgeon Bank towards the album's end. In between, there's sombre pieces (Bleeding Ink, Sea Island Murders, Catalina 1943), contemplative pieces (In Threes, Holding Pattern), and gently beautiful pieces (Iona, Angle Of Loll), all performed within a warm layer of foggy dub drone.
Admittedly, the heavy use of said dub tones does give Sea Island a bit of a samey vibe throughout, so it's nice that En Masse towards the end focuses more on piano over the drone. Not that each track doesn't feature a unique sound, it's just everything tends to blend together over the course of a playthrough. That's just the loscil style though, and if you're down for that, you'll be down for Sea Island. Now if you'll excuse me, it's time for my three-hour walk in overcast skies.
Monday, January 23, 2023
Lucette Bourdin - Rising Fog
Dark Duck Records/Fantasy Enhancing: 2007/2021
I keep wondering which album of Lucette's was her proper breakout – or at least, as much of a breakout as an ambient artist could hope to have in such an overstuffed scene. By my best guess, it's this one right here, for a few reasons. One, it was her first released on any sort of label, in this case Dark Duck Records. Nothing like a little extra promotion in getting one's name out there. Second, when Stephen Philips started remixing her albums after Lucette's passing, this was the first one he did. Maybe that's more just a coincidence of catalogue sequence though. Same I guess could be said for the first Retrospective that appeared back in 2014, that collection of Lucette pieces opening with Rising Fog's opener, Crack Of Dawn.
Not sure why that one was selected over the titular track from this album though, Rising Fog a clear highlight in Ms. Bourdin's early discography. Is it because of the length? Sixteen-plus minutes is a long one, though not that long compared to some of the behemoth pieces Lucette was crafting in previous, self-released albums. And if space is an issue for your CD, you could just edit it down a little, like some other tracks were for Retrospective.
Why would you want to though? Rising Fog is just about as perfect an example of the meditative, soothing nature of ambient music, simple drones that endlessly glide along, all the while you wait for a return to a moving harmonic portion that seemingly lifts your very soul, like the unveiling of a valley from a dark, damp, low-hanging cloud. Ambient music where you don't even notice the passing of time as it plays, and would be quite content in hearing it carry on for an hour. Yeah, some of her previous works could tap into that wellspring just as effectively, but if the piece Rising Fog was most folks' (re: ambient connoisseurs) introduction to her, it's small wonder her profile grew after.
There's other tracks on this album though, seven in total. The aforementioned Crack Of Dawn reminds me of that Ave Marie animation sequence at the end of Disney's Fantasia, like I'm wandering through a forest with overhanging trees shaped like a cathedral. Autumn Light too, and maybe a bit of Russian Snow as well, though even more angelic with its gentle pads, tickling your ears with their satin tones. Elsewhere, A Sunny Afternoon is surprisingly deep and dubby in its synth drone, when you'd think a title like that would offer something brighter.
The final two get into ambient music with a bit of a rhythmic pulse to them, so maybe not true blue ambient? Berlin-School, I guess, without the sonic weirdness that genres sometimes indulges in, though we're threading needles again here. Either way, they're nice cappers on Rising Fog, an album that, yes, I'd say is worth a 'break-out' status, if such an album can be designated as such for Lucette.
I keep wondering which album of Lucette's was her proper breakout – or at least, as much of a breakout as an ambient artist could hope to have in such an overstuffed scene. By my best guess, it's this one right here, for a few reasons. One, it was her first released on any sort of label, in this case Dark Duck Records. Nothing like a little extra promotion in getting one's name out there. Second, when Stephen Philips started remixing her albums after Lucette's passing, this was the first one he did. Maybe that's more just a coincidence of catalogue sequence though. Same I guess could be said for the first Retrospective that appeared back in 2014, that collection of Lucette pieces opening with Rising Fog's opener, Crack Of Dawn.
Not sure why that one was selected over the titular track from this album though, Rising Fog a clear highlight in Ms. Bourdin's early discography. Is it because of the length? Sixteen-plus minutes is a long one, though not that long compared to some of the behemoth pieces Lucette was crafting in previous, self-released albums. And if space is an issue for your CD, you could just edit it down a little, like some other tracks were for Retrospective.
Why would you want to though? Rising Fog is just about as perfect an example of the meditative, soothing nature of ambient music, simple drones that endlessly glide along, all the while you wait for a return to a moving harmonic portion that seemingly lifts your very soul, like the unveiling of a valley from a dark, damp, low-hanging cloud. Ambient music where you don't even notice the passing of time as it plays, and would be quite content in hearing it carry on for an hour. Yeah, some of her previous works could tap into that wellspring just as effectively, but if the piece Rising Fog was most folks' (re: ambient connoisseurs) introduction to her, it's small wonder her profile grew after.
There's other tracks on this album though, seven in total. The aforementioned Crack Of Dawn reminds me of that Ave Marie animation sequence at the end of Disney's Fantasia, like I'm wandering through a forest with overhanging trees shaped like a cathedral. Autumn Light too, and maybe a bit of Russian Snow as well, though even more angelic with its gentle pads, tickling your ears with their satin tones. Elsewhere, A Sunny Afternoon is surprisingly deep and dubby in its synth drone, when you'd think a title like that would offer something brighter.
The final two get into ambient music with a bit of a rhythmic pulse to them, so maybe not true blue ambient? Berlin-School, I guess, without the sonic weirdness that genres sometimes indulges in, though we're threading needles again here. Either way, they're nice cappers on Rising Fog, an album that, yes, I'd say is worth a 'break-out' status, if such an album can be designated as such for Lucette.
Sunday, January 22, 2023
Speedy J - Rise
Plus 8 Records: 1991/2021
“The Rise Of Speedy J”? “Speedy J Rises”? “Speedy J ...Arise!”? Hmm? Oh, don't mind me, just mulling over some silly thoughts. Like, you know how “rise” is a total cliche in movie marketing, right? So naturally I can't help but think of this EP in those terms. “Jochem Paap is... The Speedy J, Risen!”, and such nonsense. Look, when one has exhausted nearly all the Very Important talking points regarding an artist's catalogue, the temptation to succumb to the cockamamie grows ever more prominent. It happens to the best of us, and I'm far from the best of us. Maybe the best of us of what's left of us.
Anyhow, after Jochem had made his mark on the Detroit techno scene with International, he followed it up with this EP, four tracks that, for better or worse, showed just how diverse his early career would go. The titular cut kicks things off right where International left off, a near ten-minute rinse out of Detroit future funk with bright synth stabs and soaring strings. As per the title, all the elements in play keeps building upon itself, such that Rise has all the momentum going for it by track's climax, needing a good two minutes worth of cool down. Still, a strong opener, letting folks know the Dutchman is keeping the 'proper techno' spirit alive and well in Europe.
Then second track Something For Your Mind hits. Okay, it's not as inane as Pull Over, but this is still a fairly dumb track, just barely on this side of the 'Good Dumb – Bad Dumb' divide. I guess because this is a live recording (lacking any crowd noise), there's a bit more free-wheelin' flow with the thumping percussion and playful effects on the vocal. I don't have much else to say about Something For Your Mind at this point because, hoo, I'll have a better opportunity down the line.
Tresor's an odd one, in that on its surface, it's a more straight-forward bumpin' techno tune. For some reason though, I can't help but think I'm playing an old arcade racing game while it plays. Or maybe a subway station level in a beat-'em-up. Some of the synths used sound so... arcadey, y'see. There isn't anything as immediately ear-wormy as the first two tracks either, so maybe that's why Tresor has a feeling of a background tune, or a transitional one in a late set towards the end of a night.
And speaking of 'end of night', here's De-Orbit, the track that put Speedy J in the headlights of those 'intelligent' followers of techno. In the context of Rise, it's a wonderful little chill tune, Jochem showing off his downtempo side for the first time (no, I don't subscribe to the theory the speed was a mispress). Really, this whole EP plays out like a condensed night out: the 'get pumped' start, the big anthem, the 'deep' cut, and the afterhours tune. “The Rise And, um, Come-Down, Of Speedy J.”
“The Rise Of Speedy J”? “Speedy J Rises”? “Speedy J ...Arise!”? Hmm? Oh, don't mind me, just mulling over some silly thoughts. Like, you know how “rise” is a total cliche in movie marketing, right? So naturally I can't help but think of this EP in those terms. “Jochem Paap is... The Speedy J, Risen!”, and such nonsense. Look, when one has exhausted nearly all the Very Important talking points regarding an artist's catalogue, the temptation to succumb to the cockamamie grows ever more prominent. It happens to the best of us, and I'm far from the best of us. Maybe the best of us of what's left of us.
Anyhow, after Jochem had made his mark on the Detroit techno scene with International, he followed it up with this EP, four tracks that, for better or worse, showed just how diverse his early career would go. The titular cut kicks things off right where International left off, a near ten-minute rinse out of Detroit future funk with bright synth stabs and soaring strings. As per the title, all the elements in play keeps building upon itself, such that Rise has all the momentum going for it by track's climax, needing a good two minutes worth of cool down. Still, a strong opener, letting folks know the Dutchman is keeping the 'proper techno' spirit alive and well in Europe.
Then second track Something For Your Mind hits. Okay, it's not as inane as Pull Over, but this is still a fairly dumb track, just barely on this side of the 'Good Dumb – Bad Dumb' divide. I guess because this is a live recording (lacking any crowd noise), there's a bit more free-wheelin' flow with the thumping percussion and playful effects on the vocal. I don't have much else to say about Something For Your Mind at this point because, hoo, I'll have a better opportunity down the line.
Tresor's an odd one, in that on its surface, it's a more straight-forward bumpin' techno tune. For some reason though, I can't help but think I'm playing an old arcade racing game while it plays. Or maybe a subway station level in a beat-'em-up. Some of the synths used sound so... arcadey, y'see. There isn't anything as immediately ear-wormy as the first two tracks either, so maybe that's why Tresor has a feeling of a background tune, or a transitional one in a late set towards the end of a night.
And speaking of 'end of night', here's De-Orbit, the track that put Speedy J in the headlights of those 'intelligent' followers of techno. In the context of Rise, it's a wonderful little chill tune, Jochem showing off his downtempo side for the first time (no, I don't subscribe to the theory the speed was a mispress). Really, this whole EP plays out like a condensed night out: the 'get pumped' start, the big anthem, the 'deep' cut, and the afterhours tune. “The Rise And, um, Come-Down, Of Speedy J.”
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 Montanà
loscil
Lost Language
Lotek Records
Loud Records
Louderbach
Loverboy
Lowfish
Luaka Bop
Lucette Bourdin
Luciano
Luke Slater
Lunarian Records
Lustmord
M_nus
M.A.N.D.Y.
M.I.K.E.
Mack 10
Madonna
Magda
Magicwire
Magik Muzik
Mahiane
Mali
Malignant Records
Mammoth Records
Mantacoup
Marc Simz
Marcel Dettmann
Marcel Fengler
Marco Carola
Marco V
Marcus Intalex
Mark Farina
Mark Norman
Mark Pritchard
Markus Schulz
Marshmello
Martin Allin
Martin Cooper
Martin Nonstatic
Märtini Brös
Martyn
Marvin Gaye
Maschine
Massimo Vivona
Massive Attack
Masta Killa
Master Margherita
Masterboy
Matthew Dear
Max Graham
maximal
Maxx
MCA
MCA Records
McProg
Meanwhile
Meat Loaf
Median Project
Medicine Label
Meditronica
Melusine Records
Memex
Menno de Jong
Mercury
Merr0w
Mesmobeat
metal
Metal Blade Records
Metamatics
Method Man
Metro Area
Metroplex
Metropolis
MF Doom
Miami Bass
Miami Beach Force
Miami Dub Machine
Michael Brook
Michael Jackson
Michael Mantra
Michael Mayer
Michael Stearns
Mick Chillage
micro-house
microfunk
Microscopics
MIG
Miguel Migs
Mike Saint-Jules
Mike Shiver
Miktek
Mille Plateaux
Millennium Records
Mind Distortion System
Mind Over MIDI
mini-CDs
minimal
minimal tech-house
minimalism
Ministry Of Sound
miscellaneous
Misja Helsloot
Miss Kittin
Miss Moneypenny's
Mistical
Mixmag
Mixmaster Morris
Mo Wax
Mo-Do
MO-DU
Moby
Model 500
modern classical
Modeselektor
Mohlao
Moist Music
Moljebka Pvulse
Moodymann
Moonshine
Morgan
Morphic Resonance
Morphology
Moss Covered Technology
Moss Garden
Motech
Motionfield
Motorbass
Mount Shrine
Move D
Moving Shadow
Mr. Scruff
Mujaji
Murk
Murmur
Mushy Records
Music link
Music Man Records
musique concrete
Mutant Sound System
Mute
MUX
Muzik Magazine
My Best Friend
Mystery Tape Laboratory
Mystica Tribe
Mystified
N-Trance
Nacht Plank
Nadia Ali
Nano Records
Napalm Records
Nas
Nashville
Natural Life Essence
Natural Midi
Nature Sounds
Naughty By Nature
Nav Bhinder
Nebula
Nebula Meltdown
Nebulae Records
Neil Young
Nelly Furtado
Neo Ouija
Neo-Adventures
Neogoa
Neon Droid
Neotantra
Neotropic
nerdcore
Nervous Records
Nettwerk
Neurobiotic Records
neurofunk
Neuropa Records
New Age
New Beat
New Jack Swing
New Order
new wave
Nic Fanciulli
Nick Höppner
Night Hex
Night Time Stories
Nightmares On Wax
Nightwind Records
Nimanty
Nine Inch Nails
Ninja Tune
Nirvana
nizmusic
No Mask Effect
Nobuo Uematsu
noise
Noise Factory Records
Nomad
Nonesuch
Nonplus Records
Nookie
Nordic Trax
Norken
Norman Cook
Norman Feller
North South
Northumbria
Not Now Music
Nothing Records
Nova
NovaMute
NRG
Ntone
nu-italo
nu-jazz
nu-metal
nu-skool
Nuclear Blast
Nuclear Blast Entertainment
Nulll
Nunc Stans
Nurse With Wound
NXP
Nyquist
Oasis
Ocelot
Octagen
Offshoot
Offshoot Records
Ol' Dirty Bastard
Olan Mill
Old Europa Cafe
old school rave
Ole Højer Hansen
Olga Musik
Olien
Oliver Lieb
Olivier Orand
Olsen
OM Records
Omni Music
Omni Trio
Omnimotion
Omnisonus
On Delancey Street
One Little Indian
Onyx
Oophoi
Oosh
Open
Open Canvas
Opium
Opus III
orchestral
Original TranceCritic review
Origo Sound
Orkidea
Orla Wren
Ornament
Ostgut Ton
Ott
Ottsonic Music
Ouragan
Out Of The Box
OutKast
Outmosphere Records
Outpost Records
Overdream
Owl
P-Ben
Pale Glow
Paleowolf
Pan Sonic
Pantera
Pantha Du Prince
Paolo Mojo
Parental Advisory
Parlaphone
Part-Sub-Merged
Pascal F.E.O.S.
Past Inside The Present
Patreon
Patrick Dream
Paul Moelands
Paul Oakenfold
Paul van Dyk
Pendulum
Pentatonik
Perfect Stranger
Perfecto
Perturbator
Pet Shop Boys
Petar Dundov
Pete Namlook
Pete Tong
Peter Andersson
Peter Benisch
Peter Broderick
Peter Gabriel
Peter Tosh
Phantogram
Phonothek
Photek
Phutureprimitive
Phynn
PIAS Recordings
Pinch
Pink Floyd
Pioneer
Pitch Black
PJ Harvey
Plaid
Planet Dog
Planet Earth Recordings
Planet Mu
Planetary Assault Systems
Planetary Consciousness
Plastic City
Plastikman
Platinum
Platipus
Pleq
Plump DJs
Plunderphonic
Plus 8 Records
PM Dawn
Poker Flat Recordings
Polar Seas Recordings
Pole Folder
politics
Polydor
Polytel
pop
Popular Records
Porya Hatami
positivesource
post-dubstep
post-punk
power electronics
Prince
Prince Paul
Prins Thomas
Priority Records
Private Mountain
Procs
Profondita
prog
prog metal
prog psy
prog rock
prog-psy
progress house
Progression
progressive breaks
progressive house
progressive rock
progressive trance
Prolifica
Proper Records
Prototype Recordings
protoU
Pryda
psy chill
psy dub
Psy Spy Records
psy trance
psy-chill
psy-dub
psychedelia
Psychick Warriors Ov Gaia
Psychomanteum
Psychonavigation
Psychonavigation Records
Psycoholic
Psykosonik
Psysolation
Public Enemy
Pulse-8 Records
punk
punk rock
Pureuphoria Records
Purl
Purple Soil
Push
PWL International
Q-Burns Abstract Message
Quadrophonia
Quality
Quango
Quantic
Quantum
Quinlan Road
R & S Records
R'n'B
R&B
Ra
Rabbit In The Moon
Radio Slave
Radioactive
Radioactive Man
Radiohead
Rae
Raekwon
ragga
Rainbow Vector
raison d'etre
Raja Ram
Ralf Hildenbeutel
Ralph Lawson
RAM Records
Randal Collier-Ford
Random Review
Rank 1
rant
Rapoon
RareNoise Records
Ras Command
Rascalz
Raster-Noton
Ratatat
Raum Records
rave
RCA
React
Rebecca & Nathan
Recycle Or Die
Red Fog
Red Jerry
Redman
Refracted
reggae
ReKaB
REKIDS
remixes
Renaissance
Renaissance Man
Rephlex
Reprise Records
Republic Records
Res
Resist Music
Restless Records
RetroSynther
Reverse Alignment
Reverse Pulse
Rhino Records
Rhys Fulber
Ricardo Villalobos
Richard Durand
Richard Stonefield
Riley Reinhold
Ringo Sheena
Rising High Records
RnB
Roadrunner Records
Robert Hood
Robert Miles
Robert Oleysyck
Robert Rich
Roc Raida
rock
rock opera
rockabilly
rocktronica
Roger Sanchez
ROIR
Rollo
Roman Ridder
Rough Trade
Rub-N-Tug
Ruben Garcia
Rudy Adrian
Ruffhouse Records
Rumour Records
Running Back
Ruptured World
Ruthless Records
RX-101
Rykodisc
RZA
S.E.T.I.
Saafi Brothers
Sabled Sun
Sacred Seeds
SadGirl
Saitoh Tomohiro
Sakanaction
Salt Tank
Salted Music
Salvation Music
Samim
Samora
sampling
Samurai Red Seal
Sanctuary Records
Sander van Doorn
Sandoz
Sandwell District
SantAAgostino
Saphileaum
Sarah McLachlan
Sash
Sasha
Saul Stokes
Scandinavian Records
Scann-Tec
sci-fi
Science
Scooter
Scott Grooves
Scott Hardkiss
Scott Stubbs
Scuba
Seán Quinn
Seaworthy
Segue
Sense
Sentimony Records
Sequential
Seraphim Rytm
Setrise
Seven Davis Jr.
Sghor
sgnl_fltr
Shackleton
Shaded Explorations
Shaded Explorer
Shadow Records
Sharam
Shawn Francis
shoegaze
Shpongle
Shuta Yasukochi
Si Matthews
Side Effects
SideOneDummy Records
Sidereal
Signature Records
SiJ
Silent Season
Silent Universe
Silentes
Silentes Minimal Editions
Silicone Soul
silly gimmicks
Silver Age
Simian Mobile Disco
Simon Berry
Simon Heath
Simon Posford
Simon Scott
Simple Records
Sinden
Sine Silex
single
Single Gun Theory
Sire Records Company
Six Degrees
Sixeleven Records
Sixtoo
ska
Skanfrom
Skare
Skin To Skin
Skua Atlantic
Slaapwel Records
Slam
Sleep Research Facility
Slinky Music
Slowcraft Records
Sly and Robbie
Smalltown Supersound
SME Visual Works Inc.
SMTG Limited
Snap
Sneijder
Snoop Dogg
Snowy Tension Pole
soft rock
Soiree Records International
Solar Fields
Solaris Recordings
Solarstone
Soleilmoon Recordings
Solieb
Solieb Digital
Solipsism
Soliquid
Solstice Music Europe
Solvent
Soma Quality Recordings
Songbird
Sony Music Entertainment
SOS
soul
Soul Temple Entertainment
soul:r
Souls Of Mischief
Sound Of Ceres
Sound Synthesis
Soundgarden
Sounds From The Ground
soundtrack
southern rap
southern rock
space ambient
Space Dimension Controller
space disco
Space Manoeuvres
space music
space synth
Spacetime Continuum
Spaghetti Recordings
Spank Rock
Special D
Specta Ciera
speed garage
Speedy J
SPG Music
Sphäre Sechs
Spicelab
Spielerei
Spinefarm Records
Spiritech
spoken word
Sport
Spotify Suggestions
Spotted Peccary
Spring Hill
SPX Digital
Spy vs Spice
Squarepusher
Squaresoft
Stacey Pullen
Stanton Warriors
Star Trek
Stardust
Statrax
Stay Up Forever
Stealth Sonic Recordings
Stephanie B
Stephen Kroos
Stereo Raptor
Stereolab
Steve Angello
Steve Brand
Steve Lawler
Steve Miller Band
Steve Porter
Steven Rutter
Stijn van Cauter
Stimulus Timbre
Stone Temple Pilots
Stonebridge
Stormloop
Stray Gators
Street Fighter
Stuart McLean
Studio K7
Stylophonic
Sub Focus
Subharmonic
Sublime
Sublime Porte Netlabel
Subotika
Substance
Subtle Shift
Suction Records
Suduaya
Suicide Squeeze
SUN Project
Sun Station
Sunbeam
Sunday Best Recordings
Sunscreem
Suntrip Records
Supercar
Superstition
surf rock
Susumu Yokota
Sven van Hees
Sven Väth
SVLBRD
Swayzak
Sweet Trip
swing
Switch
Swollen Members
Sykonee Survey
Sylk 130
Symmetry
Synaptic Voyager
Sync24
Synergy
Synkro
synth pop
synth-pop
synthwave
System 7
Taboo
Tactic Records
Take Me To The Hospital
Tall Paul
Tammy Wynette
Tangerine Dream
Tau Ceti
Taylor
Taylor Deupree
Tayo
tech house
Tech Itch Digital
Tech Itch Recordings
tech-house
tech-step
tech-trance
Technical Itch
techno
technobass
Technoboy
Tectonic
Telefon Tel Aviv
Telstar
Terminal Antwerp
Terra Ferma
Terror Cell
Terry Lee Brown Jr
Tetsu Inoue
Textere Oris
The 13th Sign
The Angling Loser
The B-52's
The Beach Boys
The Beatles
The Black Dog
The Boats
The Brian Jonestown Massacre
The Bug
The Chemical Brothers
The Circular Ruins
The Clash
The Council
The Cranberries
The Crystal Method
The Digital Blonde
The Dust Brothers
The Field
The Frozen Vaults
The Gentle People
The Glimmers
The Green Kingdom
The Grey Area
The Grid
The Hacker
The Herbaliser
The Human League
The Irresistible Force
The KLF
The Micronauts
The Misted Muppet
The Movement
The Music Cartel
The Null Corporation
The Oak Ridge Boys
The Offspring
The Orb
The Police
The Prodigy
The Real McCoy
The Roots
The Sabres Of Paradise
The Shamen
The Sharp Boys
The Sonic Voyagers
The Squires
The Stills-Young Band
The Stray Gators
The Tea Party
The Tragically Hip
The Velvet Underground
The Wailers
The White Stripes
The Winterhouse
themes
Thievery Corporation
Third Contact
Third World
Tholen
Thrive Records
Tiefschwarz
Tierro Cosmico
Tiësto
Tiga
Tiger & Woods
Tijuana Panthers
Timbaland
Time Life Music
Time Warp
Timecode
Timestalker
Tineidae
Tipper
Tobias
Tocadisco
Todd Terje
Toki Fuko
Tom Middleton
Tom Tom Club
Tomas Jirku
Tomita
Tommy '86
Tommy Boy
Ton T.B.
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
Überzone
Ugasanie
UK acid house
UK Garage
UK Hard House
Ultimae Records
Ultra Records
Umbra
Underworld
Union Jack
United Dairies
United DJs Of America
United Recordings
Universal Motown
Universal Music
Universal Records
Universal Republic Records
UNKLE
Unknown Tone Records
Unusual Cosmic Process
UOVI
Upstream Records
Urban Icon Records
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