Saturday, April 11, 2015

Various - Air

Altar Records: 2009

So I splurged on a pile of Altar Records CDs. The reason I done did this was they too subscribe to the ‘limited run of physical medium’ philosophy. Fortunately for me though, the Quebec label has thus far flown far under the radar of even the most ardent of downtempo and psy-chill sorts, and much of their back catalogue can still be had direct from their website. As I've been enjoying the cut of their jib from regular artists like AstroPilot and Chronos, you bet I snagged up what I could while it’s still there – I won’t get left behind on this one, nosiree! This includes an entire compilation series spotlighting various in-house talent and assists from a few outside friends, with an elemental theme tying the whole thing together. Hm, not the most original concept, that.

Unlike the previous elemental chill-out series I covered a couple years back (!), this one doesn't have a unifying series banner, simply dropping each compilation into its alphabetical titled sorting with no backup, standing alone for itself. How noble. Oh, and there’s a fifth element to this series too – can you guess what it is? (no, not 'love', that'd be stupid). Anyhow, as I deal with my music in alphabetical order, fate has decreed the first in this series, Air, kicks off my now-sporadic coverage of Altar Records’ Elements series. Incidentally, this was also the first CD released by Altar. And I mean ever!

The opening half of Air prominently features producers the label would cultivate for its roster. In fact, AstroPilot kicks the whole thing off, though is teamed up with one Grigoriy Sobinov as Zymosis. I wouldn’t go so far as to say its typical psy-dub chill-out, but if you’ve digested copious amounts of Shpongle and such, you’re in familiar grounds here (or is it clouds in this case?). Following that is Voices Of The Universe from Aquascape & Skydan, two names I know little about beyond what Lord Discogs tells me, and am stunned to hear a track that’s not too dissimilar to a throwback Jean Michel Jarre piece. Wait, isn’t Altar psy? Sure, and label head DJ Zen drops in for third track Speak Your Mind with flutist Jace Gravel, and holy cow, where’d this cut come from? It has a rather standard world beat build with all the psychedelic trimmings, but when that beat finally drops into a thudding, proggy-dub thing, hot damn! That’s how you make an opening statement for your label, my friends.

Air carries on with nice variety of different-flavored psy on the downbeat, tracks offered by Tentura, Shakri, and Chronos (more on him later). Then Ultimae’s Big Three – Asura, Aes Dana, Solar Fields – drop by to finish the compilation off, and with exclusives no less! Okay, if I’m honest, it’s not that big a deal, their tracks not catching each at the peak of their powers. Still, getting that bump from the top dog of the psy-chill yard had to help Altar’s early prospects.

Friday, April 10, 2015

Seraphim Rytm - Aeterna

Silent Season: 2014/2015

How have I neglected Silent Season for so long? Like, I knew it existed, had seen its name crop up, mostly in relation to a couple ASC albums. Perhaps the ‘dub techno’ tag had me initially wary, an all too trendy buzzword the past decade, but I should have had more faith in a local label being class. Also, as they’ve primarily catered to the digital market, I just assumed there’d be no hard copies available with any of their releases. Turns out I was wrong, they do release CDs, though in a limited capacity. No worries though, even short runs last a few years in a label’s store house. Just pop over to the website and- oh, right. Dub techno. This is the domain of the Basic Channel collector. You either get in right away, or not at all. *sigh* All that back catalog, as out of reach as a first run Fax +49-69/450464 vinyl. Moral: don’t sleep on your locals.

That all sorted, let’s talk about Silent Season’s latest offering, Aeterna from Seraphim Rytm. Erm, can’t help you out much on the producer info part, as Mr. S.R. is rather reclusive from the interwebs. All I can glean from the sporadic PR blurbs is he’s from Belgium, and a far-flung region at that. Heh, figures he’d end up releasing an album on an equally far-flung label like Silent Season. Oh, and he also produces as Damaskin, which Lord Discogs confirms. Only the most quality sleuthing here at Electronic Music Critic!

Though I mentioned Silent Season’s breaded butter sits in the dub techno fridge, the music on Aeterna barely categorizes as that. There’s certainly dub production going on, but Seraphim Rytm layers his loops to such a degree that he turns his tracks into lengthy, hypnotic drones. His rhythms are mostly soft ambient techno, the sort that’ll have forlorn old-school Aphex Twin fans reminiscing of simpler times. Synth pads pulse and throb like meditative breathing, and melodic touches ebb in and out during each track’s duration (running an average of ten minutes apiece). Aside from the titular opener’s beatless, running-water theme, there isn’t much stylistic variation between any of these cuts, but they’re well crafted pieces of music, never so monotonous that you’ll lose interest in their meandering journey (yeah, the ‘water’ motif was deliberate on Mr. Damaskin’s part). Should you spring for the digital version of Aeterna (pretty much necessary at this point), you get two additional tracks for your dollar, Kozara and Sana. Compared to the relative calm tones of the album proper, these come off more experimental in their chosen sounds, though still follow the same droning looptastic nature as the other tracks. Definite B-side material, then.

And Hell, I’ll say it: Aeterna is a trance record. Not euro-trance, or techno-trance, or whatever qualifier you need describing that large genre, but in its purest sense, where the listener is drawn within through subtlety and repetition. Okay, maybe neo-trance too, if we’re counting that as a thing.

Thursday, April 9, 2015

Sabled Sun - 2147

Cryo Chamber: 2015

In some ways, the haunting final transmission of Sabled Sun’s 2145 could have served as a perfect conclusion to the whole project. It’d be bleak as all Hell, a lone survivor from another time, left to scrape out what meager existence he has left in an inhospitable environment. Yet, struggle on he will, as that is what marks the indomitable human soul. If 2145 was a novel, what more fitting ending: the protagonist overcoming the remorseless antagonist that is the ruined world surrounding him? It matters not whether he survives for long; he's determined to leave some trace of mankind's fighting volition, overcoming our most horrible mistakes. Whether he succeeds or not is irrelevant, this is a spiritual triumph in the face of impossible circumstances. (holy cow, has Sabled Sun ever inspired my inner literature wanker!)

Carry on Simon Heath did though, with follow-up 2146 serving as a direct exploration of the ruined world compared to 2145's broad thematic setting. I initially figured it was set from the perspective of space travelers discovering the remnants of this world, but with an actual point-of-view protagonist being established in the album prior, it could be his continuing story as well. Either or would work in 2146's favor, though with 2147, I get the sense we're firmly back in the eroded shoes of our man from the past.

Whatever the case may be, as the cheery cover art illustrates, things haven’t improved much on the planet in the two years since first awakening (and three years since the last Sabled Sun album came out). The opening track is titled Survival, and through windswept field recordings, pelting acid rain, and staggered steps through charred landscapes, a mournful dirge emanates from the embers of civilization. Much of the music on 2147 follows in Survival’s wake, long droning compositions with dark pads layered to the point of distortion, as though even tonal harmony can no longer exist in this desolate clime’. There’s also more sense of journey in this album, and not just because there’s a track titled Journey either. Other track titles include The Outer Zone, The Space Center, Hope, Home, and Hibernation. Wait… Hope? As in, there’s some actual light within the abyss that is this future Hellscape?

Perhaps. The titles and music suggests there may be a few holdouts, and that our nameless protagonist from 2145 has come across them. Or he decided this world was not worth living in, and thus re-entered cryo slumber, a possibility of a better tomorrow should he be revived again. The final track Dreams Without A Future is certainly the most pleasant thing heard on all three Sabled Sun albums, a gentle bit of piano ambience with only the slightest bit of distortion added. After the ordeal we’ve been through, a respite is most welcome, a sweet release from the turmoil of this broken world. Of course, that’s all conjecture. Guess we’ll have to wait for the next chapter in Mr. Heath’s story to find out.

Wednesday, April 8, 2015

Sabled Sun - 2145

Cryo Chamber: 2012

It took him nearly three years to do it, but Simon Heath finally released the next chapter in his Sabled Sun story, 2147. But wait, there's still the first album in this series, 2145! I should go back to that one first and get the whole picture, eh? Like, would you read Foundation by skipping Prelude? The Lord Of The Rings by skipping Fellowship? The Thrawn Trilogy by skipping Heir To The Empire? Nah, guy, you do things proper-like and read/hear things from the beginning. So to it then.

As 2145 is the opener to the Sabled Sun setting, it’s only appropriate there’s an Intro. Here, a nameless protagonist wakes up from a cryo’ sleep, providing a brief, haggard narration detailing the health conditions that led him taking such drastic measures. Finally having the reality of his environment settle in, he remarks with abject incomprehension, “You know, I imagined waking up not in any kind of utopia – not so naive – but at least something. I mean, I figured things were bad before... but this? ...what happened?” What indeed.

Heath is never explicit in the details, but track titles do provide some hints.This Is Where The World Ends, Singularity, Silo, Date Expired, Shattered, A New Sun and Acid Rain are such examples, with a few vague ones like The Ancient, Retina, and The Hideout thrown in for good measure. Or these could be references to the world we now find ourselves in, the historical events that led to the downfall of civilization forever lost. The music never explicitly details anything either – we are dealing with a dark ambient project, so our references are mood and conjecture, leaving things to interpretation. It's like an album full of those transitional bits from The FSOL's Dead Cities.

As for the music itself, it’s suitably sombre and bleak. Most tracks run relatively brief for the genre, seldom ever droning on for more than necessary (if you’re after that, check out the Signals spin-off). Some tracks focus more on melody, others on sound effects and immersion, all retaining a gritty, future-shock tone, though not so heavy on the sci-fi ‘scapes as the follow-up 2146 went. I found a few of the latter tracks growing redundant with this album’s theme, though the elegy Acid Rain near the end definitely puts a proper, reflective capper on what was lost in this future world.

The final track though, Transmission/Outro ...damn. A menacing, escalating drone with spits of static reminds you just how desolate the world now is, no chance of recovery, no light at the end. Then the nameless protagonist from the intro returns, sending a desperate plea to anyone who might hear him, even into space. “Humanity’s last testament, a lonely voice in the cosmos.” He wonders if intelligences beyond might discover some trace of what we accomplished, or be disgusted that we threw it all away. Then he proclaims that he’s still there, even as his voice is consumed by suffocating static. Defiant to the last.

Tuesday, April 7, 2015

Burial - Rival Dealer

Hyperdub: 2013

I mean, if you have as dedicated and willing a listening audience as Burial’s, why not take the noble road with a Message Album? It’s tricky though, getting them across such that they’re understandable, but without coming off cloying and obvious as fuck. Also, when even the greatest songwriters look goofy in benefit concerts, what hope does a persistently reclusive sort like Mr. Bevan have, especially with a bevy of Burial backlashers waiting in the bleachers? And did they ever pounce when Rival Dealer came out, decrying it the point where Burial had finally fallen off (until this latest single Temple Sleeper anyway), straying too far from his future garage roots into sentimental pap in delivering his one very important thought. Others countered it was bold moving on from dubstep’s resolutely isolationist urban vibe in favor of something uplifting and socially embracing. Debates raged over intent of message versus calculated courting of controversy for the purpose of marketing, posts in comment threads reaching word counts longer than what I self-impose upon myself for these reviews. Oh shit, the review! I still have to talk about the music!

Three tracks make up Rival Dealer, though the way Burial changes course so frequently, it feels like twice as many shorter tunes mashed together forming a whole. The titular opener alone runs the gamut of darkcore jungle, ravey bosh, and rain-soaked cinematic ambience, all fed through Burial’s distinct crackly urban-soul production. Less about songcraft than sound collage, there’s much to digest, a sonic assault provoking a response – whee, art! Hiders, the short cut of the three (other two breach the ten minute mark each) goes in a synth-pop route, including swelling strings, uplifting pianos, and a lovely croon; then, over a minute of field recordings static and dark drone. Talk about contrasts.

Final cut Come Down To Us lays the sentiments on thick as syrup, though the broken beats Burial crafts are nice and thick too, so I can’t complain. As for his pull on your emotions, yeah, this is as subtle as a meat hook in your heart, but damn if he doesn’t pull it off. Burial’s ace remains his appeal to your base emotions, particularly tugs at nostalgia (hello eleven millionth Boards Of Canada comparison) - that he wrenches feeling out of issues of depression, isolation and hope doesn’t surprise me, and I’m more stunned he pulls it off without crossing that aforementioned line of corn. I can see how others wouldn’t agree, and deride Burial for even going there, but as far as I’m concerned, this is as tastefully done as one can hope, given the context of the subject matter.

As for that particular topic, I’m hardly the person to start preaching, but for what it’s worth, I believe it’s absolute shit the way LGBTQ folk have been generally treated. They deserve better, and am glad progress is made in their benefit, slow as it may be. As the sample on Rival Dealer consistently assures throughout, “you’re not alone”.

Sunday, April 5, 2015

Various - Rising High Trance Injection

Instinct Records: 1994

One of the buried treasures of early '90s classic trance, this. Not that Teenage Sykonee realized it when he picked it up by random chance. All he saw was an affordable double-CD with a bunch of weird, cool names (Influx! Syzygy! Tranquilizer! New London School Of Electronics! Perry & Rhodan?), and the word ‘trance’ on the cover. Perfect! Oh wait, except for one track, this sounds nothing like hard German trance. Fail. That second disc's got some neat ambient though. Win!

More to the facts, Rising High Trance Injection is a gathering of ancient trance-leaning tunes from the seminal UK label Rising High, offered up by seminal US label Instinct. Also in for the ride are tracks from seminal German label Fax +49-69/450464, whom Rising High had a distribution deal with. Geez, is that ever a lot of label cross promotion. There's also a lot of acid on hand, Rising High more of a techno print than trance, but daring enough in their records that occasional spacey, trippy sounds would be released along with the hardcore rave thump. If you’re curious about what trance was doing in the UK before even Platipus existed, Rising High Trance Injection is as perfect a summation as you’ll find. Detailing all the cool music on this release will require a serious namedrop paragraph though, so let’s get to it.

CD1 features such important names as Casper Pound (he founded the label so of course), Resistance D., The Irresistible Force, Pete Namlook, Dr. Atmo, and Ed Handley of Black Dog Productions. They are almost all under pseudonyms, some making music you’d never expect of them. For instance, Namlook and Atmo teamed up as Escape, and their track Escape To Neptune is an absolute blinder of hard trance stomp. Due to some legal hiccups, Resistance D’s credited as RD1 for their classic bliss cut Eclipse. Casper Pound hides in the trippy self-titled Tranquilzer, while breaks and ambient dabbler James Bernard (Expansion Unit!) offers up two spacey acid tracks as Influx (plus a dark space ambient outro as Cybertrax at the end of CD2). Oh yeah, Perry & Rhodan’s beloved The Beat Just Goes Straight On & On opens disc one, but I’ve always felt that tune too gimmicky. Give me the deep acid pulse of OBX’s Eternal Prayer or psychedelic build of Balil’s Parasight instead!

That disc two though, hot damn are there some hidden gems lurking about. Here there be lo-o-ong tracks, only six in total but great examples of the ethnic leaning side of chill-out house and ambient dub. Most are familiar with the Namlook and Morris pairing Dreamfish, and we get the aptly dreamy eighteen-minute long School Of Fish on this CD. Namlook’s also here with Christian Thier as Sequential for the proper-trancey Everything Is Under Control. My favourite discovery of these though is Syzygy’s Discovery, coming off what a blend of early Orb and Banco de Gaia might sound like. On acid. Seriously, dude, the acid’s all over this compilation.

Saturday, April 4, 2015

Aphex Twin - Richard D. James Album (Original TC Review)

Warp Records: 1996

(2015 Update:
Oh God, there's such a glaring hole in this review, a critical piece of information I left out. Or forgot. Or didn't bother researching for some lazy reason.
Richard D. James Album is officially the first album Richard D. James produced using soft-synths as his primary music hardware, which should be totally obvious by the tonal shift in these tracks. The tickity-tack sounds, cut-up rhythms, micro-sliced sampling, and braindance glitch is common for compositions by way of computer trickery, of which this album his filled with. His prior work, still on analog gear, is more straight-forward in their arrangements, though filled with their own sonic oddities because it's Aphex. Even if that distinction is obvious though, it's an important piece of RDJA's make-up, an essential piece of music journalism I neglected.

Speaking of, man does this review ever read like a stock 'music journalism' piece. I guess that's sorta' good, in that in TranceCritic's late run we were finally coming off polished and professional. Can't say I like reading it now though, much of it feeling functional while sandpapering personality off. Probably didn't like it much then either, at least on a subconscious level. Two year hiatus was nigh.)



IN BRIEF: Aphex-Pusher? Or Square-Twin?

After so many years of being an eccentric pioneer, the perpetually creepy-grinning Richard D. James suddenly was not. Rather, he started following the lead of another eccentric pioneer, Tom Jenkinson. Legend goes James was so impressed by then-unknown Jenkinson’s live show that he quickly signed him to his Rephlex label and released the first Squarepusher album. Then, James himself went and started making tracks with similar aesthetics, where frenetic jazz-fusion rhythms were thrown into a mixing bowl of real-world noises and samples for use in sound banks.

For the Aphex Twin moniker, this was quite new. Granted, there were dabblings here and there (most famously Didgeridoo), but James had carved out his name with gritty drill’n’bass beats, strange yet lovely ambient textures, and, most famously, unique sounds that only he seemed able to create –which is no surprise since the Cornwall native's hobby was gleefully dissecting and experimenting with equipment like some kind of evil vivisectionist. Why would a guy who made a career of sounding like no one else suddenly make music that potentially did (and would when others followed his and Squarepusher's lead)?

Well, aside from the aforementioned Jenkinson influence, fact of the matter was electronic music in general was in transition in the mid-90s, and James was no exception. As a part of the old guard of rave musicians and partiers, he, like so many others, found himself at a crossroad once the original rave scene finally crumbled into separate niches: either find a way to become highly successful in the music industry, or retreat the other way to satisfy the muse. If this album is anything to go by, his initial gut reaction was to retreat – let the other guys (Orbital, Prodigy, et al) have their mainstream. Ironically, the Aphex moniker too would see mainstream success, thanks in huge part to a series of Chris Cunningham videos, but that came later.

Back to the album at hand, it isn’t nearly as over-indulgent as you might expect from the likes of James. It is, however, somewhat jarring on first listen, if for no reason than opening track 4 has some of the tinniest, blunt percs offered from any Aphex Twin tune. Sure, the melody is charming enough, but where are those trademark big crunchy beats, eh? Not here, my friends, and nowhere on this album either. The early-90s Aphex Twin has moved on.

Fingerbib aside, the first half of Richard D. James is probably going to sound like a bunch of glitchy, abrasive, noisy nonsense for those uninitiated to IDM’s more screwy, intense drum programmers. Granted, we’ve had over a decade to get accustomed to such screwbars and nutballs (Venetians Snares, Bogdan Racyzinski, to just name-drop a couple we’ve already covered [at TranceCritic]), but way back in ye’ old 1996, this was some radical sounding stuff. Poor folks were coming into this album looking for more ambient bliss like Blue Calx or drill’n’bass delights like Come As You Mean To Go On, and instead get bizarre metallic clanging in Peek 8245yadayada or contortions of modem dial-up squawks in Carn Marth. You could still hear some of those old Aphex tropes littered about - the melodies James came up with, no matter how distorted or buried they got, still sounded great - but you had to give this album repeated listens to actually get it. Aphex Twin had always been a bit challenging in that regard, but he at least could be counted on cuts that you could easily digest in one sitting. Not so much here though.

Moving on to the second half in short time, James leaves behind most of the harsh sounds in favor of cute’n’cuddly silliness. Result: something far more accessible for those untrained IDM ears out there, and a good load of giddy adulation at the cleverness of it all from the rest. For instance, the brilliantly titled To Cure A Weakling Child splices together pieces of children singing along with infantile melodies (and, of course, intense clippity-cloppity skitter-beats), creating something that’s ridiculously twee, yet very disconcerting whenever James goes into a ‘drum solo’. Yellow Calx aside (which has more in common with older Aphex material due to the synthy backing melodies), Richard D. James wraps up on such silly charming sentiments, even going so far as to include a slide whistle in the final track. It does work wonderfully in a track like Girl/Boy Song, bringing nutty grins to your face in spite of the frenetic drum work, but is simply wacked in Logan Rock Witch, which seems to be James messing around with a bunch of left over samples.

Whatever the case, Richard D. James Album is definitely one of those Must Have releases for connoisseurs of IDM. Along with Squarepusher, it set a precedent for the future direction of this wildly eclectic genre, as several others began following suite and diving off the deep end with such experimental albums (unfortunately to ever-increasing patience-trying results).

For the rest, though, I can sense a little trepidation, especially considering the short running time (finishing out at just under thirty-three minutes). Frankly - and I know this point has been hotly contested over the years - this isn’t the best starting point for Aphex Twin material. Actually, I’m not even sure which album would be, but Richard D. James Album definitely is not it. Due to the very short running times of most of these tracks, the album comes across more like a collection of jingles than songs; great jingles, mind, but jingles nonetheless.

Unless you’re already well versed in IDM sample-skitter-step, I’d hold off on this album until you’ve already taken in one or two Aphex Twin releases. You will eventually enjoy Richard D. James - if not for the eccentric attributes, then for discovering the warmth underneath the eccentric attributes - but at least this way you’ll soften that initial “WTF?” blow to your ears.

Written by Sykonee for TranceCritic.com, 2009. © All rights reserved.

Friday, April 3, 2015

Leftfield - Rhythm And Stealth

Columbia: 1999

We’re not many, us Leftfield fans who prefer Rhythm And Stealth over Leftism. Mind, most enjoy both albums to some degree, but when pushed for a proclaimed love between the duo’s sole two LPs, Leftism gets the like-thumbs first. And why not? It’s got the classic tunes many are familiar with - Release the Pressure, Song Of Life, Open Up - plus a bevy of classy cuts running from downtempo dub, tribal ‘riddims, and progressive house. These are all easy sounds for a casual consumer of electronic music to vibe on, which was kinda’ the point when Leftfield put that album together anyway. They had new markets to penetrate.

With Rhythm And Stealth though, Barnes and Daley basically said nuts to all that and started treading where their contemporaries feared to venture. They go deeper into the dub, getting their gear good and gritty with Roots Manuva on opener Dusted, then on the cusp of UK super-stardom. Compared to the floating bliss of Release The Pressure, this is one confrontational kick-off by comparison, Leftfield letting their loyal fanbase know they’re in for a rougher ride on this LP. And in case you fooled yourself into thinking it was just a one-off, the pummeling beats and rough rhythms of Phat Planet, Double Flash, Dub Guessett, and 6/8 War reinforces the notion Leftfield aren’t playing nice for their sophomore effort. That’s half the album devoted to unrelenting submission of your psyche, radio-friendly jams be damned. And if you’re obligated in making a radio-friendly jam, I’ve no problem with it being Afrika Shox, a nu-skool electro-funk outing that rescued Afrika Bambaataa from Italian euro-dance Hell (much love for Feel The Vibe tho’!).

Still, they do mix things up with tunes more in line with the reggae dub that inspired much of their output. Chant Of A Poor Man brings back Cheshire Cat for some dancehall business, Swords is basically Leftfield’s stab at trip-hop (getting featured on all the hip rave movies of the time, ‘natch), and a pair of crackly ambient dub outings with El Cid and Rino’s Prayer mark the mid and end points of the album. Come to think of it, each half of Rhythm And Stealth is remarkably similar: opening single with prominent rapper, instrumental banger, downtempo cut, another instrumental banger, and ambient outro. Wow, I never realized that until now! I feel so stupid.

Album programming aside, the fact Rhythm And Stealth caught many off guard is one of the key reasons why I prefer it over Leftism. Barnes and Daley knew they couldn’t repeat their debut, the genres there they’d helped pioneer already coming off dated by decade’s end. Instead, they gambled on pounding dub rhythms and productions fused with other hot genres of the time, once again carving their own sound in the process. It’s an album where the listener must take in on its terms, crossover fans be damned. My kind of LP then, though understandable why Rhythm And Stealth left others cold.

Thursday, April 2, 2015

Frank Bretschneider - Rhythm

Raster-Noton: 2007

Frank Bretschneider's the sort of producer I should know more about, given his long history in the realm of experimental glitch. And with that descriptor, you're likely thinking he's part of Mille Plateaux's legacy, one of their key acts at turn of the century. In fact, Frank goes further back than that, having a partnership in similar-styled label Raster-Noton where he released music as Komet before joining Mille as well. His chosen sound wasn't the sort I was actively seeking out way back when, but my so-called maturity of age has provided a measure of interest and respect of the whole 'clicks 'n cuts' scene. Thus it's only natural that my first forays into Mr. Bretschneider's discography should come when I first took my early dips within the Mille Plateaux brotherhood, which happened to be this particular album titled Rhythm. Well, not quite.

Nay, I got this from a trawling of Juno Records in search of new material to review for TranceCritic. It must have been one of the year's lean months, when hyped releases are scarce and I'd take chances on names unfamiliar to my eyes. Such was the case with ol' Frank here, and as Rhythm was filed under Juno's techno section, I thought I might end up with some kick-ass 4am bangin' shit. Oh, 2007 Sykonee, you silly naive fool, did you forget what year you were in?

That Rhythm ended up being a study in minimal beats shouldn't have surprised me, had I done a little prior back checking into Mr. Bretschneider's discography. These blind dives though, what thrills they often reveal, my uncanny sixth sense in judging albums by their covers seldom leading me astray. This LP's called Rhythm, and by God and his DJ, there's no way you can mess that up. No way at all. Except when one does.

Or rather, the Komet man's approach to this album is a strict exercise in form over function, which does fit his creative outlook, so success on those terms I guess. Dear Lord though, is Rhythm tedious: clicks, fuzz, and pops utilized in crafting beats, some low bass, and nothing else. Hell, I can't even call these 'beats', as that implies something that can latch onto your reptile brain and get you moving funky. I can hear a groove existed at some point in these tracks’ development – a hip-hop shuffle here or a breakbeat bounce there – but Bretschneider’s stripped everything down to the aforementioned clicks and such. The result is nine sterile, soulless tracks bereft of the very thing the album’s title implies should be there.

Rhythms can serve as pure head music. Just look at the spazzy braindance scene – ain’t no way folks are dancing to Squarepusher at his most insane. And I’ve heard minimalist, clicky stuff that wasn’t so dull either, though often spiced up with supplemental prefrontal cortex food (tone, hiss, pad!). Not on this album though. Bretschneider deserves another chance, but Rhythm soured me to exploring his material further anytime soon.

Wednesday, April 1, 2015

ACE TRACKS: March 2015

Hey, it’s April 1st, which means I have to do a prank or some shit like that. Okay, let’s see…. Um.. ah, I got it. I promise to review ALL the Armin van Buuren albums! Hahaha! Oh, that’s rich. What, too obvious? Okay, how about this one. I’ll not review all the AvB albums! Ah, hahaaha, hoho hee! That’s not a prank either? Well, what do you want, a close-up sneak peak to Ishkur’s Guide To Electronic Music 3.0? How about a fresh playlist of ACE TRACKS from the past month instead?


Full track list here.

MISSING ALBUMS:
The Beatles - Revolver
Bandulu - Redemption
Various - In Trance We Trust 006: DJ Cor Fijneman

Percentage Of Hip-Hop: 11%
Percentage Of Rock: 12% (note: not all the included rock bands perform actual rock here)
Most “WTF?” Track: I honestly can’t think of one with this bundle. Maybe some of the ‘cracker trance towards the end. Like, how could I ever enjoy such corn! If we’re going that route though, any Bryan Adams?

Quiz: what do Bandulu and The Beatles have in common? They’re both British! Oh, and neither are officially on Spotify, though you can find plenty of cover bands doing Beatles classics. No such luck with Bandulu, sadly.

This one came together remarkably well, which was nice considering the last few playlists were messier than I’d have liked. Even the dalliances into rock don’t sound forced (yes, even Bryan Adams). Also, as with ACE TRACKS: December 2013, I’ve lumped all the In Trance We Trust material at the end, so if you need your eurotrance fix, you’ve a jolly good lot of it at the end. Also, it seemed appropriate kicking that segment off with Faithless’ Insomnia, since they were partially responsible for clubby anthems of that sort gaining popularity.

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 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 AC/DC Ace Trace Ace Tracks Playlists Ace Ventura acid acid house acid jazz acid techno 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 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 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 Arcturus arena rock Arista Armada Armin van Buuren Arpatle Artifact303 Arts & Crafts 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 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 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 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 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 Cypher 7 Cypress Hill Cyril Secq Czarface 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 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 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 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 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 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 Francis M Gri 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 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 Get Physical Music 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 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 Hawtin Headphone Hearts Of Space Hed Kandi Hefty Records Helen Marnie Hell Hercules And Love Affair Hernán Cattáneo 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 Imogen Heap Imperial Dancefloor Imploded View In Charge 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 Jefferson Airplane Jerry Goldsmith Jesper Dahlbäck 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 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 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 Kitaro Klang Elektronik Klaus Schulze Klik Records KMFDM Koch Records Koichi Sugiyama Kolhoosi 13 Komakino Kompakt Kon Kan Kool Keith Kozo Kraftwelt Kraftwerk Krafty Kuts Kranky krautrock Kriistal Ann Krill.Minima Kris O'Neil Kriztal KRS-One Kruder and Dorfmeister Krusseldorf Kubinski KuckKuck Kulor Kurupt Kwook L.B. Dub Corp L.S.G. L'usine La Luz Lab 4 Ladytron LaFace Records Lafleche Lamb Lange 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 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 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 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 Marvin Gaye Maschine Massimo Vivona Massive Attack Masta Killa Master Margherita 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 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 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 Neil Young Neo Ouija Neo-Adventures 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 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 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 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. 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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 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 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 Suction Records Suduaya Suicide Squeeze SUN Project Sun Station Sunbeam Sunday Best Recordings Sunscreem Suntrip Records Supercar Superstition surf rock Susumu Yokota Sven Väth SVLBRD Swayzak Sweet Trip swing Switch Swollen Members Sykonee Survey Sylk 130 Symmetry Sync24 Synergy Synkro synth pop synth-pop synthwave System 7 Tactic Records Take Me To The Hospital Tall Paul Tammy Wynette Tangerine Dream Tau Ceti Taylor 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 Tiësto Tiga Tiger & Woods Tijuana Panthers Time Life Music Time Warp Timecode Timestalker Tipper Tobias Tocadisco Todd Terje Toki Fuko Tom Middleton Tom Tom Club Tomas Jirku Tomita Tommy '86 Tommy Boy Ton T.B. 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