Thursday, June 29, 2017

Gorillaz - G Sides

EMI Music Canada: 2002

By the point of Demon Days, springing for additional Gorillaz material seemed a no-brainer. Damon Albarn and Jamie Hewlett were so meticulous in expanding the brand's memorabilia and lore that you almost felt left out if you didn't check out every aspect of it. Nowadays, it's easy-pie doing so, most resources readily available online. It's also made doing interactive media all the more challenging for the duo, as among Gorillaz' many manifestos, one of them was to always use cutting edge technology in bringing their virtual band to the masses. It's gotten so technical that they've brought Murdoc and 2-D into our meat-space via remote imaging and cartoon holographic digital-quantum trickery, hackery, puppetry, wizardry, and 23@47~{ry. It's a far cry from their early, simple days, when having CD-ROM bonuses was about the peak of extra content.

I mean, that was one of the selling points of G Sides back when wasn't it? The two music videos included on the CD? It's honestly remarkable they fit two on here in the first place, most CDs only having room for one vid' at best. And while including Clint Eastwood would be rather redundant by 2002 (that got massive rotation on TV the year prior), no one had ever seen the Rock The House video yet. I don't know if that one ever aired, either debuting on G Sides, or as an unlockable on the original Gorillaz website. I barely even remember how that thing operated, only that it was considered state-of-the-art web design way back in 2001, with the original Gorillaz CD acting as a key to bonus features like cartoon shorts and the like. As I had a barely functional piece of junk PC at the time, I never got to explore 'Murdoc's Winnebago', and by the time I did get a computer that could, Gorillaz had already moved onto Phase 2, rendering the site obsolete. Oh well.

Obviously all that content is now easy to find online, meaning the only reason to get G Sides now is for the music. Okay, that was a reason back then too, though you must have been one hardcore fan to spring for this album – or just liked more of Mr. Hewlett's artwork. Gorillaz has evolved into a remarkable institution these days, but fifteen years hence, it was seen as little more than a novelty with a clever marketing campaign and some killer singles. That much of the debut album is filler, however, isn't brought up much anymore, seen as a bunch of genre fusion lacking a concise concept linking it altogether as later albums would. If you're down for more of such genre fusion, plus alternate versions of Clint Eastwood and 19-2000, then G Sides is a fun little bonus to the Phase 1 material. It's even got Noodle doing a couple solo outings with electro-pop Faust and trip-hop Left Hand Suzuki Method, singing in Japanese and all. It's as though she could make a whole Gorillaz album herself or something.

Wednesday, June 28, 2017

LFO - Frequencies

Warp Records: 1991/2011

There were other records floating about of similar ilk, but few at the time made such a definitive stamp on UK techno as LFO's debut LP did. Not only did it help establish the Brits' take on Detroit's sound as something distinct, unique, and 'bleepy', all the while providing a subtle link to the raving antics of Belgians, but it also put the fledgling Warp Records on the map. Between this, Nightmares On Wax, and Tricky Disco, Warp was quickly established as a print worth reckoning with, a wholly independent label that clearly had its ear to the pulse of techno that wasn't just mindless boshing bollocks. An almost 'intelligent' take on dance music, you might say, though not too pretentious about it – LFO will still demolish your bassbins if you're not careful with the gain levels.

What helped Frequencies stand out from the pack is just how much of a melting pot of influences it is. True, there wasn't much to draw from at this point of electronic music's history, but Mark Bell and Gez Varley don't mince words in the opening Intro, first asking what is house music (“Technotronic? KLF? Or something you live in?”) before name-dropping a who's who of Chicago pioneers. Then they rattle off “pioneers of the hypnotic groove”, listing off Eno, Kraftwerk, and... Depeche Mode? Yellow Magic Orchestra?? Tangerine Dream??? Well, I can't say I've ever heard those chaps name-dropped in the vintage deep house/techno, pitched-down voice before. And wait, what's LFO going on about house music? Aren't they 'bleep techno' pioneers or something?

True d'at, with plenty of examples littered throughout Frequencies. The eponymous lead single is the classic cut of course, and still carries a potent punch when those low-ends drop, all the while bleepy noises and sinister Detroit strings ooze warehouse menace. The follow-up single We Are Back takes things a step further, coming off like a grimy, future-shock reboot of the Belgian hit Quadrophonia, to say nothing of the bass-crushing minimalism of Mentok 1. Groovy Distortion and Tan Ta Ra eases up on the sub-whoofer assault some, edging closer to the Model 500 mould so much 'bleep techno' was emulating in the first place. Elsewhere, LFO get their electro vibe on, tracks like Simon From Syndey, El Ef Oh!, and Think A Moment showing where that Kraftwerk nod comes into play (sure, a little YMO too).

And yes, there's house music on here. Only... it's not house. Nurture, Freeze, Mentok, You Have To Understand, and Love Is The Message have that undeniable house groove going, but buried behind so much bleepy, bare-bones production, they come off strangely techno too. Not that genre-mashing was uncommon in the early '90s – much scene splintering occurred shortly after from such wilful warping of established conventions, young though they were. Few attempted emulating LFO's take on house-techno hybrids though, if anything because it was just so raw and unpolished, difficult to replicate without going full-retro. No wonder Frequencies remains a timeless album.

Monday, June 26, 2017

Gorillaz - The Fall (Kayfabe Review)

Parlaphone: 2010

Essentially a 2-D solo album, but I doubt there'd be much interest in that, so it makes sense he'd release it under the Gorillaz banner. It's remarkable he got it out at all. I thought Murdoc held all the rights to the Gorillaz brand, including what gets officially released under the name. And probably bootlegged for that matter – I can totally see Mr. Niccals working the black market for Gorillaz merch alongside everything else. “BUY! Authentic Rubbish From The Shores Of Plastic Beach!” “TASTE! Bottled Brine From The Bay Of Point Nemo!”

Murdoc's easily distracted though, what with his copious drug and drinking abuses, plus debt collectors, demons, and record executives constantly at his back. So it's not that surprising 2-D could write, record, and release an album all on his own completely under Mr. Niccals' broken nose while they were touring the Plastic Beach album – Murdoc spent much of that time bitching about the Gorillaz Live Band stealing his spotlight anyway. And if you think 2-D showing such initiative flies in the face of established Gorillaz lore, how dare you break kayfabe while reading this review! Despite coming off a simpleton and full of innocent naivety, Stuart Pot has shown smarts in the past, when called upon. His traumatic experience surrounding the Plastic Beach sessions clearly gave him some backbone in standing up to Murdoc, and if releasing a solo album while on tour under the Gorillaz brand was his way of getting back at the “bastard bass player”, all the more power to him.

That all said, it's hard getting into The Fall as a proper Gorillaz record. Even if previous albums were primarily written by lone members (ie: Noodle almost single-handily making Demon Days), at least everyone was involved. Hell, even Plastic Beach, despite lacking Noodle and Russel Hobbs, at least used elements of their talents to make it sound distinctly Gorillaz. True, Murdoc used some right shady tactics to achieve this (using DNA from Noodle to create a cyborg version of her; straight up taking Russel's drum equipment without his consent), but hey, par for the course where Mr. Niccals is concerned, amirite?

But nay, The Fall is primarily all 2-D, with assists from the Gorillaz Live Band wherever he could sneak them in. I've no doubt that Damon Albarn guy helped with some of the vocal overdubs, and a few musicians contributed as well (Mick Jones of The Clash adds a little guitar doodling to Hillbilly Man, Paul Simonon also of The Clash adds bass to Aspen Forest, Bobby Womack brings bluesy guitar and vocals for Bobby In Phoenix).

For the most part though, The Fall is 2-D making blippy, bloopy electro-pop and soul, finding inspiration from whatever city the band happened to be in during the tour. A strange concept for a solo album, but then it's not like 2-D had many options to explore his muse. Methinks he's the sort to find inspiration with whatever is immediately in front of him anyway.

Sunday, June 25, 2017

808 State - ex:el

ZTT: 1991/2010

The beginning of the end, where a lot of old-school 808 State fans are concerned. Which is funny because the Manchester band hadn't been around for that long, so it's not like they had much time to develop ardent purist followers of their acid house sound. They done did though, their debut album Newbuild commonly hailed as a Very Important Album in the world of UK acid, frequently name-dropped by numerous Very Important Artists of early UK techno. They carried that momentum into Ninety, even scoring a radio hit with Pacific State in the process. So you bet when third album ex:el was announced, anticipation ran white hot within UK clubland for what the lads from up 'nooth' would bring.

A bandwagon jump, it would seem. Or leading the charge in England's brave new rave world, depending on who you ask. You were almost obligated to get ravey with it in the years 1990-92 – even traditionally rock bands were having their stabs at the 'Madchester' sound. Where opinions get split, however, is whether 808 State's cleaner, crisper approach to songcraft ruined what made the 'real heads' of UK acid house fall in love with them to begin with. How dare they abandon the raw, unpolished, don't-give-a-care production that enamoured so many to Newbuild! Instead, ex:el is filled with ear-wormy hooks, thumping rave beats, and guest vocalists from stars past (Bernard Sumner of New Order) and future (Björk).

The trick worked, ex:el going on to be the band's highest charting album (methinks some residual Pacific momentum helped). No less than five tracks out of thirteen found their way into the 808 State ten-year retrospective 808:88:98, including the big rave anthems Cübik and In Yer Face, the mellower jams of Lift and Olympic, and the Björk featuring Ooops. And some contend that still wasn't enough music off here, tracks like the other Björk tune, Qmart, bouncy reggae-influenced Leo Leo, or percussion-heavy Techno Bell just as worthy contenders for any 808 State 'best of' collection. Not the Newbuild hold-outs though – they think nearly everything off ex:el is rubbish, total crossover bollocks or some-such. It's definitely a slicker-sounding album, and no amount of gritty guitar or blaring synth riffs can hide that fact. After four years making UK techno though, you can't blame the band for getting better at production.

The thing that strikes me so odd about ex:el is how the singles are all back-loaded. What, did 808 State not figure folks would be down for tunes like acid cut Nepharti and pseudo-ballad Spanish Heart unless they were on the LP's A-side? Considering the notion of the 'rave album' was still in the process of gelling, it's rather ballsy on their part not hitting you with all the familiar anthems right out the gate.

And in the end, ex:el is one of the finer pure rave albums that era generated. It may not be 808 State's most definitive work, but it's a whole lotta' fun front to back.

Friday, June 23, 2017

Gorillaz - D-Sides

Parlaphone: 2007

So Gorillaz have been back in the spotlight these past six months, and absolutely I'll be getting around to their latest album. Maybe I'll even kayfabe it too, 'cause that's always fun, buying into the mythos Damon Albarn and Jamie Hewlett have crafted for their virtual band. We should be so blessed as to have a rag-tag assortment of miscreants, misanthropes, and misunderstood musicians shining a perverse spotlight on contemporary pop music. Okay, we already do have that, but no band features a member making deals with literal demons (and record executives), while another spends her non-music time slaying other demons. I wonder if the demon world has an underground scene dedicated to sampling the forbidden fruit of Gorillaz tunes.

Anyhow, as with every new album from this band, there's a multi-media blitz crossing all mediums promoting it, including new videos. And when you watch one Gorillaz video, you can't help but start watching all of them, then getting wrapped up in the lore all over again, taking in the short cartoons, the audio books, the puppet shows, and all that. It's just a shame there's but the three albums to satisfy the music craving though, a scant sampling compared to all the surrounding paraphernalia associated with the Gorillaz brand. And I've already got them, so what else is left? Oh yeah, the b-side collections. I totally missed out on those, didn't I?

Well, no longer, and gosh dag'it, why did I skip out on these in the first place? I suppose I wasn't quite so enamoured with Gorillaz at the time, and didn't think a double-disc of b-sides, alternate takes, and remixes of the Demon Days sessions was terribly enticing. Dammit though, that album just seems to get better every time I play it back again, so there's bound to be a few dope tunes that just didn't quite make the thematic cut. Yeah, a few.

If you felt Demon Days lacked the first album's wild eclecticism, D-Sides offers it in spades, twee hip-hop (Hongkongaton) rubbing shoulders with electro-punk freak-outs (Murdoc Is God, We Are Happy Landfill, The Swagga), electro-reggae (Spitting Out The Demons, Bill Murray), dream-pop (68 State, Hong Kong), and bizarro synth-funk (People, Rockit). Then there are the tunes that completely defy definition, (Stop The Dams, Highway (Under Construction)), so don't even try. Just sit back and chill-vibe on these wonderful slices of weirdo-pop, son.

CD2 holds all the remixes, and is a veritable who's-who of trendy indie dance-punk sorts of the mid-'00s. Hot Chip is here! Soulwax is here! DFA is definitely here, with their twelve-minute rub of Dare, which spends it's entire second-third building and building and building, only for a very long, minimal outro that undoubtedly had DJs all a'twitter. As these are remixes of the main Demon Days singles, the selection isn't terribly dynamic, tracks like Kids With Guns and Dare getting three apiece between the nine cuts. Fortunately, I quite like Dare, in all its incarnations. Play on, daughter.

Thursday, June 22, 2017

The Bug vs Earth - Concrete Desert

Ninja Tune: 2017

First Kevin Martin made shockwaves as The Bug with London Zoo. Then he retreated from the alias to focus on a new project with Roger Robinson as King Midas Sound. That did awesome-sauce as well, and it looked as though he'd find a way to flit between the two projects, dedicating his Bug works to the dancehall and grime side of his muse, while working out the dubby, droned-out soul portion of his brain with King Midas Sound. He even got started on a running series with the latter (Edition), inviting like-minded artists in for a little collaborative work. A couple years pass, and it looks about time for either another Bug effort or a second Edition. Figures Mr. Martin opted for a little of both in Concrete Desert, giving us a Bug album that also serves as a collaboration with a prominent drone musician.

Said drone musician is Dylan Carlson, he of the drone metal band Earth and member of the Rasputin Look-Alike Club. Seems they're credited as kicking off that whole scene within the metal pantheon, getting their start sometime in the early '90s. Hey, Kevin Martin was also doing rock music of a sort back then, though more of a post-punk, noise thing that led him to exploring all things dubby later that decade. They have different approaches to their chosen craft, but the endgame seems the same: finding the musical nuances in the empty spaces between notes and sounds.

And Concrete Desert definitely does that. Something of an ode to outer Los Angeles as viewed through a David Lynch lens, there's plenty 'nuff drone tones to go around. In fact, the longest cuts on here go entirely beatless, American Dream and the closing titular track both breaching the ten-minute mark as Misters Martin and Carlson feast off of each others feedback fuzz, sustained guitar timbre, and heavy dub production. These could fit snugly in the dark ambient camps in how bleak and dispiriting they come across. Even the ambient opener City Of Fallen Angels, while a tad more melodic and calm, still comes off suffocating, as though choking on desolate urban heat.

That's all well and good, but folks coming into a Bug album expect some crunchy, bass-heavy beats too. For sure he delivers, though even these come off sparse, more in service of Dylan's evolving drone. Gasoline has a strident march that Dylan's guitar rides on, Snakes & Rats assaults you like a sonic cannon, Don't Walk These Streets quickens the marching pace as all manner of tonal wickedness lurks in the shadowed alleys, and Broke... kinda' reminds me of a NIN interlude.

Nate Patrin of Pitchfork calls Concrete Desert “neo-neo-noir music”, to which I say, “fuck off, Pitchfork, and your retarded hyper-hyphenated genres.” They are right in saying that it “draws you into its discomfort” though. These are far from inviting tones to hear, but Bug and Earth craft such a seductive, sonic dance, you can't help but wander these desolate streets regardless.

Wednesday, June 21, 2017

Autumn Of Communion - Autumn Of Communion 4

Carpe Sonum Records: 2014

I've been buying music from Mick Chillage. I've been slowly getting up to speed on Lee Norris. Seems I've no choice but to finally spring for an Autumn Of Communion album, the collaborative project between the two. No, wait, this shouldn't sound like a chore, though it does feel like a challenge at times. They made their debut as AoC on Fax +49-69/450464, which wound up being among the last albums the label released before Pete Namlook's passing (apparently the last). You bet that's made it a tantalizing collectible now. The project wasn't homeless for long though, finding a comfortable spot in Mr. Norris' newly established ...txt print, where they've released several albums since. But as ...txt typically has ridiculously short-runs of CD pressings, finding affordable hard-copies of such albums has proven most difficult for late adopters (damn, wish I hadn't missed out on that Polydeuces ...mmm, Saturn beauty shot...).

Fortunately, Misters Norris and Gainford did contribute an LP to another fledgling label that spun-off from the epic-mega Namlook Tribute project, Carpe Sonum Records. Seeing as how Autumn Of Communion were honorary Fax+ alum, it was only appropriate that they'd offer up some new tunes for the Carpe Sonum crew, who tend to have lengthier CD runs than their ambient techno brethren. Praise the Techno Gods!

Even more appropriately, AoC produced a clutch of tracks that fall in line with Fax+ of old, all the while keeping things sounding modestly modern in the process. Autumn Of Communion 4, so named because it's the duo's fourth proper album under the handle (d'uh), makes no bones about the style you're in for. I mean, just look at that cover art! My God, is it ever lovely, losing your gaze in a star-studded field of winter twilight, a leafless canopy serving as silent sentinels to the secrets above. And damn if the twenty-minute opener Ocean Of Religion doesn't feel like you're actually out there in the wilderness, losing your gaze in the great beyond. Distant percussion echoes from afar as lovely pads and soft timbre weave in and out, subtle astral-chatter meshing with field recordings throughout. I want to actually play this piece in such a setting, though the local park field at summer midnight might do in a pinch.

The rest of AoCIV is taken up by two longish tracks (Leaving Island, Zren Keen), and two shorterish tracks (Through The Motion, Animated Religions), which honestly sound like from different sessions than Ocean Of Religion. While still featuring lovely synth work, they're less spaced-out, coming off more grounded in songcraft, though Religions does reach some upper atmosphere vibes. Island mostly performs as a pure ambient outing with sporadic dubbed-out beats, Keen gets a little heavier in its rhythm department, and Motion is... groovy ambient? Is this a thing? I think this should be a thing.

But yeah, Autumn Of Communion 4 is as wonderful an album as you'd expect with the players involved. Miss at your own peril!

Tuesday, June 20, 2017

Harold Budd & Brian Eno - Ambient 2: The Plateaux Of Mirror

Editions EG/EMI: 1980/2009

How does one follow-up a genre- nay, scene-defining album? Carry on with business as usual, I guess, and that's what Brian Eno did in the immediate aftermath of Music For Airports. It's not like he had plans to create ambient music as a critical benchmark and cultural touchstone, 'music as abstract art' ideas already explored throughout the '70s. All Music For Airports really did was crystallize those concepts under an easily identifiable banner. It wasn't Eno's manifesto to be the vanguard of an entirely new approach in music-making, more content playing the role of producer for numerous new wave bands emerging out of Britain and New York. Then again, one does not title an album Ambient 1 without some inclining this was a concept that would see future interpretations as a series. Kinda' committed yourself there, Eno ol' chap.

He couldn't tackle this wide-open field of potential music exploration on his own though, hence calling in one Harold Budd for a little collaborative work. Mr. Budd, having worked behind the scenes with jazz and minimalist musicians as a composer since the mid-'60s, released a proper debut album in 1978 called The Pavilion Of Dreams, released on Eno's own Obscure print. In fact, ol' Brian helped produce it, finding Budd's lengthy and sustained 'soft pedal' approach to piano playing gelling nicely with his notions of abstract minimalism. If anyone should join the ambient jamboree Eno was itching to set off, Harold was a perfect pairing. Having an actual pianist making the music instead of manipulating tape-loops is always preferable, right?

And yet, it was the looping nature of Music For Airports that gave it such a distinct characteristic that it spawned an entire genre of music. With Harold Budd laying his feathery touch upon the ol' ivories though, The Mirror Of Plateaux comes off less an ambient record, and more a modern classical one, where traditional musicianship remains in charge of a composition's direction. It's still very loose and improvisational, mind you, but you can't help but see Budd performing it, whereas ambient music typically prefers removing the notion of a musician at work altogether. At least, that's how it evolved over time – ironclad genre rules were still in the process of development at this early stage.

As for how Ambient 2: Plateaux Boogaloo sounds, it's fairly similar to Budd & Eno's later work on The Pearl, though with less of a coherent theme going on beyond music making for its own sake. It's mostly delicate piano noodling or soft organ diddling, with some synth pad in support. Not Yet Remembered breaks mould with a choir pad, and Wind In Lonely Faces adds bell and bowl tones, but that's about as adventurous as this album gets. Pleasant? Yes. Calm and soothing? Absolutely. Essential listening? Eh, The Pearl was a better pairing of these two's talents, but Plateaux Of Mirrors is a fine effort all around, a fitting companion piece to Eno's Ambient series.

Tangerine Dream - Alpha Centauri

Ohr/Esoteric Reactive: 1971/2011

Any chronicler of Tangerine Dream claims every album of theirs is an Important Stepping Stone in the band's development throughout the '70s, how each LP led to another new wrinkle in their sonic tapestry. And that remains true for their sophomore effort Alpha Centauri, though consensus states this one isn't as important as the others that came later. I don't agree with that entirely - at least on a conceptual level it's a significant change of direction from their debut Electronic Meditation. Even by title alone, you can tell this one's aiming for sending you on a journey somewhere specific, no matter how abstract and psychedelic the music gets. It just so happens space was the place everyone thought was the new hotness at the time, moon landings and Stanley Kubrick movies inspiring folks with their own takes on cosmic exploration. Plus, you can totally get away with sounding all weird and shit, because does anyone know what music at Alpha Centauri actually sounds like? Heck, we didn't even know what sounds Saturn could make yet! Freeform imagination songcraft abounds!

First up, because this is way-early Tangerine Dream, don't come into this album expecting anything like their mid-'70s genre-defining Berlin-School synth-wizardry sound. Nay, this is the band still in their psychedelic rock phase, though definitely pushing the boundaries of what could still be technically classified as 'rock music' within this nascent kraut offshoot. Opener Sunrise In The Third System serves as an intro of sorts, only four-and-a-half minutes long while building upon organ operatics and spaced-out guitar sounds. If this doesn't sound like you're out on the fringes of an extra-terrestrial planet, then you don't know your kosmische.

That one's fairly straight-forward as songs go on this album though. Second track Fly And Collision Of Comas Sola settles for nothing less than musique concrete abstraction for a good two minutes of its start, all pinging synth zaps and shimmering laser-lights; it's like you're riding the comet itself! Oh yeah, Comas Sola refers to a comet passing near Jupiter at the time, so this piece wants to recreate a journey on said comet, and potential collision with the big ball of temperamental hydrogen. I'd say they pull it off, much of the track a meandering, dithering piece of synth strings, organs, and almost inaudible guitar strums. Two-thirds deep, drums emerge, flutes be a tootin', and the track erupts in a cacophonous, psychedelic freak-out. If you feel that's too rocky for your Tangerine Dream music, check out the 2011 bonus track Ultima Thule Part One, where the band does a full rock-out as any psych-band could.

Still, the titular cut is the main attraction, running twenty-two minutes long. Yeah, it's one of those pieces, where the band seems to be fluffing about for an endless amount of time. Some weird synth noises here, an extended flute solo there, a little choir action and spoken German radio-chatter elsewhere, not much linking it all together. Methinks some refinement in their song-writing is still required.

Wednesday, June 14, 2017

Pantera - Vulgar Display Of Power

ATCO Records: 1992

The only Pantera album you're supposed to have, even if you're not a Pantera fan. Any metal fan worth their salt will have this though, for no other reason than that cover. Imagine what it was like being a longhair back in the day, wandering into your local shop in search of something that was keeping the thrash fire alive. The standard bearers, Metallica, had left a void with their deliberate crossover effort the year before (the black album), any number of metal bands potentially stepping to the plate to take over. But Megadeth aimed to follow Metallica's lead, Slayer was between albums, and Anthrax was getting all chummy with hip-hop. No, someone new had to take the mantle, and believing their fresh, groove-orientated take on thrash could do the trick, Pantera aimed to drop the heaviest metal album ever with Vulgar Display Of Power. And to make sure they got your attention, they dropped the most fucking metal cover art ever onto store shelves, something you just couldn't look away from and had to hear what lay within. Paying a dude $10 a punch for the perfect shot never had such rewarding dividends.

More than anything, Vulgar Display Of Power marks a flashpoint in the way metal would be approached in the '90s. No more falsetto singing, Phil Anselmo instead bringing that underground hardcore growl to the forefront and never relenting, save a pair of obligatory ballads. And that bassline needs pitching right the fuck down, practically buried in the mix, so that it grinds like a machine – many subsequent thrash and death metal bands lifted this technique wholesale, such that the Pantera clones forced the band to go even heavier in Far Beyond Driven, just to keep pace.

But those guitar riffs, mang! Dimebag Darrell showed plenty of skill in albums past, but in unleashing their inner beast with Vulgar Display Of Power, he went to a whole other level (a new level!). For sure he let's Pantera's groove carry the load, his guitar tones featuring some of the heaviest crunch and feral snarl ever heard in the genre to that date. But he gets to solo time, and geez'it, the guy's just gone, mang, just gone. Gander at Rise, already an intense tear-out session, taking shredding to glorious highs. It's about the only remnant of '80s thrash on this album, everything else feeling '90s as fuck. Hell, even the 'ballad' This Love comes off more Gen-X pissed-off than whatever passed for sentimental in the decade prior. Other 'ballad' Hollow feeds more off '70s melodrama before getting to the punchy stuff to finish out.

Aggro-groove stompers dominate the album (A New Level, Walk, Live In A Hole, Regular People, By Demons Be Driven), with furious tear-outs breaking any potential monotony (Mouth For War, Fucking Hostile, Rise), though Pantera aren't hesitant to change tempo mid-track either. Something for every metal-head on here, then. Get it, and storm that lacrosse field with the fury of a thousand moshers.

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. Saafi Brothers Sabled Sun 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 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. 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 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 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 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