ARTIST |
TITLE |
LABEL |
FORMAT |
COMMENTS |
A Cid
Symphony |
A Cid Symphony |
Gear Fab |
2CD |
|
A
Reminiscent Drive |
Mercy Street |
F Communciations |
CD |
1997 |
A.B.G.S. |
Bunkerbeschallung |
CoC |
CD |
|
A.B.G.S. |
Erdlager |
CoC |
CD |
|
A.B.G.S. |
Etch |
CoC |
CD |
|
A.C.
Marias |
One of Our Girls Has Gone
Missing |
Mute |
LP |
|
A.F.R.I.
Studios |
Room Service (Part 1-3) |
Tonschacht |
7 |
|
A.F.R.I.
Studios |
Schwellwert |
BMB Lab |
CD |
|
A.M.P. |
Alien Registration Office |
Ochre |
CD |
|
A.M.P. |
Heart & Soul Dissolves |
Darla |
CD |
|
A.M.P. |
Studio EP |
Colorful Clouds for Acoustics |
7 |
|
A.R
& Machines |
Echos aus Zeiten der Grünen
Reise |
Polydor GM |
CD |
1998. A German
guitarist who, like Manuel Göttsching and Günter Schickert, delighted in
discovering creative new applications for delay and echo, Achim Reichel is
one of the unsung heroes of Krautrock. The "Machines" were his
assortment of FX pedals and electronics, as well as any drummers or
instrumentalists who happened to be on hand at the time. Saturated in trippy
effects and loopy rhythms, Reichel's music reminds me of Eno/Fripp and
Cluster/Harmonia or more recent practicioners like Füxa or Kriedler. He has dismissed his albums as primitive
and embarrassing, refusing to see them re-released, but he did oversee this
lone CD compilation of career excerpts. I hope he comes around to a full
reissue campaign someday, as this is great, groundbreaking stuff. |
A3000 |
Magnetic Gliding |
Disturbance |
CD |
|
Aardvarck |
Find the Cow |
Delsin |
CD |
2001.Detailed
IDM miniatures from MIA Eevo Lute wünderkind David Caron. The short pieces
initially seem scattered, sketchy. With time and repeated listens, fractured
downtempo programming and somber melodic shards align in the shape of
something cohesive and kaleidoscopic. Magic-Ear art? |
Aarktica |
No Solace in Sleep |
Silber |
CD |
2000 |
abbc |
Tête a Tête |
Wabana |
CD |
|
Abrams,
Dan |
Stream |
Mille Plateaux |
CD |
2001 |
Abraxas |
Skin Thrills |
T.F.I. |
CD |
|
Abunai |
Two Brothers |
Camera Lucida |
CD-R |
2003 |
Abunai! |
Universal Mind Decoder |
Camera Obscura |
CD |
1997 |
Abunai! |
Round Wound |
Camera Obscura |
CD |
2000. Expertly
pieced together from hours of improv sessions, honoring the live-band jam
roots so central to the Abunai! aesthetic. A kaleidoscopic collage of studio
recordings that incorporates both spacey fragments and epic escapades, all
layered and sequenced for maximum acid-jam effect. Kris Thompson’s vortical
keyboards, Joe Turner’s driven drumming, Dan Parmenter’s soulful, funk-fueled
basslines, and Brendan Quinn’s guitars, guitars, guitars coalesce in a
potent, 80-minute cut-and-paste head trip of Teutonic proportions. One must
look back to Amon Düül I’s Psychedelic Underground (1969) or Agitation Free’s mammoth Malesch (1972), both similarly assembled from tapes, for anything quite
as grand. |
Acacia |
Maddening Shroud EP |
Warner Music |
12 |
|
Acardipane,
Marc |
Best of - 1989-1998 |
ID&T |
CD |
1998 |
Accelera
Deck |
Narcotic Beats |
Endorphin |
CD |
1998 |
Accelera
Deck |
Conviction & Crack |
Pitchcadet |
CD |
|
Accelera
Deck |
Disquieting |
FWD |
CD-R |
|
Accelera
Deck |
EP |
English Muffin |
7 |
|
Accelera
Deck |
Shadow Land |
Scarcelight |
CD |
|
Achiary,
Benat / Kent Carter / David Holmes |
AchiaryCarterHolmes |
Vand'oeuvre |
CD |
1999 |
Acid
Jam |
Acid Jam 2 |
Woronzow/Rubric |
2CD |
|
Acid
Jesus |
Acid Jesus |
Klang |
CD |
1998 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Acid Mothers Temple & The
Melting Paraiso U.F.O. |
PSF |
CD |
1997 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
La Nóvia |
Swordfish |
CD |
2000 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Pataphisical Freak Out Mu! |
PSF |
CD |
2000 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Troubadours from Another
Heavenly World |
PSF |
CD |
2000 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
The New Geocentric World of Acid
Mothers Temple |
Squealer |
CD |
2001 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
In C |
Squealer |
CD |
2002 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Univers Zen ou de Zéro à Zéro |
Fractal |
CD |
2002 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Magical Power from Mars: Vol. 1:
Ziggy Sitar Dust Raga |
Important |
CD3 |
2003 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Magical Power from Mars: Vol. 2:
Diamond Doggy Peggy |
Important |
CD3 |
2003 |
Acid
Mothers Temple & The Melting Paraiso U.F.O. |
Magical Power from Mars: Vol. 3:
Cosmic Funky Dolly |
Important |
CD3 |
2003 |
Acid
Mothers Temple & The Melting Paraiso UFO |
Absolutely Freak Out (Zap Your
Mind!!) |
Static Caravan |
2CD |
|
Acid
Mothers Temple Family Compilation |
Do Whatever You Want, Don't Do
Whatever You Don't Want!! |
Earworm |
3CD |
2002 |
Acrosleuth |
Acrosluke Firewalker |
Acrosleuth |
CD |
|
Activity
Center (Burkhard Beins & Michael Renkel) |
Activity Center |
2:13 Music |
2CD-R |
2001 |
Activity
Center (Burkhard Beins & Michael Renkel) |
Mowen & Moos Remix |
2:13 Music |
CD |
2002 |
Acustic |
No. 1 |
April |
CD |
1996 |
Acustic |
Star Quality |
April |
CD |
1998 |
Ad Vanz
vs Gescom / Foehn |
split |
Fat Cat |
12 |
1998 |
Adam F |
Colours |
Astralwerks |
CD |
1997. Adam F.
broke into the drum n’ bass arena with the two-fisted knockout of “Circles”
and “F-Jam.” All doubters who scoffed at his privileged showbiz background
(dad was a notorious glam-rocker, Elton John once owned the family’s Rolls
Royce, young Adam himself toured America as a Moody Blues keyboardist) were
silenced by the absolute perfection and consummate musicality of his
simmering grooves. With a talent for arrangement and programming that vastly
belies his 24 years, Adam F. established himself as a fixture of the
acid-jazz/jungle crossover set. In many ways the perennial outsider, Adam F.
shuns the club scene, professes a strong spirituality, and embraces live
ensemble musicianship over retread sampling. Where others nick obscure Blue
Note riffs, Adam plies his own saucy post-Weather Report fusion enticements
(“F-Jam,” “Music In My Mind”), seasoning them with effected vocals and sharp
breakbeats. You can’t pigeonhole Adam. “Metropolis” and “Jaxx,” colossal
twin-slabs of claustrophobic urban menace, offset the seductive
“Aromatherapy” and “The Tree Knows Everything,” a slick dance-pop showcase
for Everything But The Girl vocalist Tracey Thorn. “Dirty Harry,” as lean and
punchy as Lalo Schifrin’s orchestral workouts, shows a genuine understanding
of funk. That alone sets Adam apart from the majority of his fumbling,
beat-wrangling contemporaries. |
Adam X |
Audiobiography |
X-Sight |
CD |
1998 |
Add N
to (X) |
Vero Electronics |
Blow Up |
CD |
1996 |
Add N
to (X) |
Little Black Rocks in the Sun EP |
Mute |
CD5 |
1998 |
Add N
to (X) |
Add Insult to Injury |
Mute |
CD |
2000 |
Add N
to (X) |
On the Wires of our Nerves |
Mute |
CD |
1998. In the
1977 sci-fright flick Demon Seed,
a superintelligent computer impregnates its inventor's wife. A scenario
fraught with nightmarish possibilties, but the oddly named Add N To (X) sees
it as the stuff of which dreams are made. The Sheffield trio lusts after a
biomechanical breakdown of the distinctions between man and machine. Coaxing
salacious grooves out of vintage synthesizers and voice processors (like
their forebears, Kraftwerk—Nerves' "Gentle Germans?"), they forge futuristic
aggro-electro from the sounds of robotics in revolt. Their affection for
technology often borders on full-blooded fetishism. Wires and Nerves are
indeed key words here, the constituents of the group's Cronenberg-ian
miscegnation of technology and biology. Grating white-noise sonics and
bubblegum tunefulness make up the skeleton of a "Murmur One" or
"Orgy Of Bubastus." The flagrant machinefunk of "The Black
Regent" actually sounds like a cyberpimp's misappropriation of Stevie
Wonder's "Part Time Lover!" Such android anthems as
"Nevermind," "Sir Ape" and the title track trip the oscillators
fantastic, swinging like cybernetic arms locked in loving embrace. And
"Sound Of Accelerating Concrete," a seductive bleep-ballet for
Ballard-struck automobile enthusiasts, even gets a little romantic—in a
mechanically passionless sort of way. Creepy but charming, just like Add N To
(X). |
Add N
to (X) |
Avant Hard |
Mute |
CD |
1999. If you
ever doubted the lascivious intent of Sheffield's Add N To (X), the title of
their third album lays it out explicitly. Coming ever closer to the ultimate
biomechanical coupling of (wo)man and machine, the group verses synthesized
seductions in the mechanical language of love. Dripping with theremin warble,
live percussion, and atom-age melodies, every track on Avant
Hard seems to ask "Will you bleep me?" Of
whom, one can't be certain. Though a video for the fabulously cyber-sleazy
single, "Metal Fingers In My Body," does feature an animated
nymphette and a randy robot doing the deed. "It's fun to compute"
says Kraftwerk. Add N To (X) apparently has more prurient amusements in mind.
Avant Hard trots out one
lewd groove after another, with a single-mindedness that makes these
cybersexual pursuits entertaining rather than perverse. Add N To (X) cruises
for wares—soft, hard, free, share—on the streets of "Robot New
York" and, on the aggressive "Buckminster Fuller," fantasizes
about tantric positions even the Kama Sutra must have overlooked. The down n'
dirty percolations of "Fyuz" suggest that Barry Smith, Ann Shenton
and Steven Claydon all have volumes of Popular
Mechanics stashed under their mattresses. What a
curious crew. |
Adler,
Gunter |
15 Electronic Pieces |
Staubgold |
CD |
|
Adlib |
Adlib EP |
(K-RAA-K)3 |
CD |
|
Adorable |
Sistine Chapel Ceiling EP |
Creation |
CD5 |
1993 |
Adorable |
Sunshine Smile EP |
SBK |
CD5 |
1993 |
Adorable |
Kangaroo Court EP |
Creation |
CD5 |
1994 |
Adrien75 |
Coastal Access |
Source GM |
CD |
2002 |
Adrien75 |
EP |
Carpet Bomb |
12 |
|
Advent,
the |
Elements of Life |
Internal |
2CD |
1995 |
Advent,
the |
Kombination Funk |
Metalbox |
CD |
1997 |
Advent.
The |
New Beginnings |
FFRR |
CD |
1997 |
Adventures
in Stereo |
A Brand New Day EP |
Creeping Bent |
CD5 |
1997 |
Adventures
in Stereo |
Airline EP |
Creeping Bent |
7 |
1997 |
Adventures
in Stereo |
A Brand New Day EP |
Bobsled |
7 |
1998 |
Adventures
in Stereo |
Alternative Stereo Sounds |
Bobsled |
CD* |
1998 |
Adventures
in Stereo |
Down in the Traffic EP |
Creeping Bent |
CD5 |
1998 |
Adventures
in Stereo |
Adventures in Stereo (Y) |
Underground Sounds |
CD |
|
Aebi,
Christian |
Soar |
Cora |
2xLP |
|
Aedena
Cycle |
Albite |
Beatservice |
CD |
|
Aedena
Cycle |
Cargo Cult |
Beatservice |
CD |
|
Aeki,
Anton |
Ningun K |
Korm/Staalplaat |
CD |
1999 |
Aelters |
Volu Beit |
Tigerbeat6 |
CD3 |
|
Aeolian
String Ensemble, the |
Lassithi/Elysium |
Robot |
CD |
|
Aeon |
Labyrinth |
Noise museuM |
CD |
|
Aerial
M |
As Performed By… |
Drag City |
CD |
1997 |
Aero |
Pretend |
Apestaartje |
CD |
2001 |
Aeroplane |
Signs of Life EP |
4AD |
CD5 |
1996 |
Aesop
Rock |
Labor Days |
Def Jux |
CD |
2001 |
African
Nightflight |
4Rest EP |
iLL |
12 |
|
African
Nightflight |
Make up your Mind EP |
iLL |
12 |
|
After
the Flood |
After the Flood |
Ae |
CD |
1997 |
After
the Flood |
After the Flood 2 |
Ae |
2CD |
1998 |
After
the Flood |
2 - Preview |
Ae |
CD |
|
AFX |
Hangable Auto Bulb 1 |
Warp |
12 |
1995 |
AFX |
Hangable Auto Bulb 2 |
Warp |
12 |
1995 |
Ag Geige |
Raabe? |
Zensor Musikproduktion |
CD |
|
Ag
Geige |
Yachtclub + Buchteln |
Rastermusic kFB |
CD |
|
Age |
The Orion Years |
Mille Plateaux |
CD |
1994 |
Agencement |
Viosphere |
Pico |
CD |
|
Agitation
Free |
Malesch |
Spalax |
CD |
1972 |
Agitation
Free |
Last |
Spalax |
CD |
1973 |
Agitation
Free |
At the Cliffs of River Rhine |
Garden of Delights |
CD |
1995 |
Agnel,
Sophie & Lionel Marchetti & Jérôme Noetinger |
Rouge Gris Bruit |
Potlatch |
CD |
2001 |
Agro,
Brian |
Poems and Preludes |
Percaso |
CD |
2001 |
Ahimsanic |
Recreational Skills |
Siladi |
CD |
|
Ahwesh,
Peggy & Barbara Ess |
Radio Guitar |
Ecstatic Peace |
CD |
2002 |
Aichinger,
Oskar |
Poemia |
Durian |
CD |
1999 |
Ainigma |
Diluvium |
Little Wing |
LP |
|
Air |
Premiers Symptomes |
Astralwerks |
CD5 |
1997 (1999) |
Air
Liquide |
Nephology |
Rising High |
CD |
1993 |
Air
Liquide |
Liquid Air/Mandragora |
Harvest |
CD |
1994 |
Air
Liquide |
The Increased Difficulty of
Concentration |
Sm:)e |
2CD |
1994 |
Air
Liquide |
Black |
Sm:)e |
CD |
1995 |
Air
Liquide |
Red |
Sm:)e |
CD |
1995 |
Air
Liquide |
Abuse Your Illusions |
Harvest/EMI |
2CD |
1996 |
Air
Liquide |
Sonic Weather Machine |
Rising High |
CD |
1996 |
Air
Liquide |
Anybody Home? |
Harvest |
CD |
1997 |
Air
Liquide |
X |
Proof |
2CD |
2001 |
Airlock |
Airlocktronics EP |
Drive-In |
12 |
|
Airlock |
Electrofunk/Electroskunk |
Drive-In |
2LP |
|
Airsculpture |
Thunderhead |
Neu! Harmony |
CD |
|
Aix Em
Klem |
Aix Em Klem |
Kranky |
CD |
2000 |
Akasha |
Akasha |
Symphilis |
CD |
1977 |
Akio /
Okihide |
Scratches |
Sublime |
CD |
|
Akita-
Azuma- Haswell- Sakaibara |
Ich Schnitt Mich in den Finger |
Mego |
LP |
|
Akiyama,
Tetuzi |
Relator |
Slub |
CD |
2001 |
Akiyama, Tetzui / Taku
Sugimoto / Bo Wiget |
Periodic Drift (Hokou) |
Corpus Hermeticum |
CD |
2002 |
Akotcha |
Sound Burger |
Pork |
CD |
1997 |
Akufen |
My Way |
Force Inc |
CD |
2002 |
Al
Jabr |
One Million and Three |
Alphaphone |
CD |
1999. No
stranger to the “revolutionary” respect of RPM, Richard H. Kirk stages a
neo-electro update of the percolating blood-and-sweat funk and politically
charged Yoruba rhythms of Afrobeat agitator Fela Kuti. One
Million and Three considers electronic music’s
sociopolitical debt to the original tribal drumbeats of the Dark Continent,
as Kirk pinpoints the precise beginning of the digital age in the
ancient-Egyptian number crunching of al jabr—algebra. Afro-electro synths,
4th World samples, tranced-out and hard-wired electronica, and such titles as
“Africa Must Be Free (By 2003)” combine in Kirk’s ultimate “free your mind…”
statement. Though based in the fundamentals of funk, the tracks reflect their
creator’s genuinely global worldview. Urban, sub-Equatorial, Eastern and
euqatorial island echoes infiltrate Kirk’s future-funk "Kaleidoscope,”
and animal calls, machine noises and human voices can also be heard mingling
in the mix. One Million and Three catches this space-bound island Earth
getting its groove on to a common perpetul beat. |
Alan
Bown, the |
Outward Bown+ |
See for Miles |
CD |
1967 (1998) |
Albergo
Intergalattico Spaziale |
Luglio 1978 |
Musicando |
CD |
|
Album
Leaf, the |
An Orchestrated Rise to Fall |
The Music Fellowship |
CD |
1999 |
Alchemysts |
Over and Out |
Camera Obscura |
CD |
2000 |
Alchemysts |
Zero Zen |
Woronzow/Rubric |
CD |
2000 |
Alchemysts
& Simeon |
The Alchemysts & Simeon |
Woronzow/Rubric |
CD |
2000 |
Alcove |
Universal Implication |
Barramundi/Amor et Psyche |
CD |
1995 |
Alder
& Elius |
Parentalguidance |
Skam |
CD |
|
Alejandra
& Aeron |
The Children's Record |
Lucky Kitchen |
CD |
2000 |
Alejandra
& Aeron |
Scotch Monsters |
softlmusic |
CD |
2003 |
Alejandra
& Underwood |
Folklore Volume One: La Rioja |
Lucky Kitchen |
CD |
2001 |
Alejandra
& Underwood |
Haunted Folklore One: Ruinas
Encantadas |
Lucky Kitchen |
CD |
2001 |
Aleph
Empire |
Playback Device Confusion Vol. 1 |
Mego |
CD3 |
2002 |
Alexander's
Dark Band |
Lord Calrec |
DC Recordings |
2LP |
2000 |
Alfie |
A Word in Your Ear |
Twisted Nerve |
CD |
2002 |
Algarnas
Tradgard |
Framtiden är ett Svävande Skepp,
Förankrat I Forntiden |
Silence |
CD |
1972 |
Alias
Grace |
Embers |
Burning Shed |
CD-R |
2000 |
Alias
Grace |
Storm Blue Evening |
Burning Shed |
CD-R |
2001 |
Alien
Radio Station |
Bandwidth |
Silver |
CD |
1997 |
Alio
Die |
Under a Holy Ritual |
Projekt |
CD |
1992 |
Alio
Die |
Sit Tibi Terra Levis /
Introspective |
Sic Hunt Leones |
CD |
1993 |
Alio
Die |
Suspended Feathers |
Amplexus |
CD |
1995 |
Alio Die
& Antonio Testa |
Healing Herb's Spirit |
Crowd Control Activities |
CD |
|
Alio Die
& Yannick Dubay |
Descendre Cinq Lacs au Travers
d'une Voilé |
Amplexus |
CD |
|
Alison's
Halo |
Eyedazzler 1992-1996 |
Burnt Hair |
CD |
1997 |
Alka |
Deployed |
Resopal-Schallware |
CD |
|
Allen,
Daevid |
Now is the Happiest Time of Your
Life |
Charly |
CD |
1977 |
Alles
wie Gross |
Vertonung |
Communion |
CD |
2000. Michael
Heilrath, AKA Blond, the Landsberg-based Hausmusik collective’s resident drum
n' bass case, tries tries his hand as a composer, leading a small
chamber-rock ensemble through an instrumental suite written to accompany a
1920 silent-film adaptation of Hamlet. Carried by violin and cello, Heilrath’s compositions evoke the
dramatic angularity of German Expressionism. Stephan Richter’s atmospheric
guitar, clarinet, and “piano FX” prove essential, as Heilrath uses these
subtle sounds to delineate the album’s vaguely cyclical leitmotif. Hausmusik
fixture Markus Acher, Heilrath’s partner in rhythm, provides subdued beats
that rise with metronomic insistence against the romantic waxing and waning
strings, driving the music into the tender-yet-tumultuous space mastered by
Godspeed You Black Emperor! |
Alleyne-Johnson,
Ed |
Ultraviolet |
Equation |
CD |
1995 |
Allinson
/ Brown |
AV 1 |
Voiceprint |
CD |
1998 |
Almost
Digital |
A.D. |
Hypnotism |
CD |
1995 |
Almuró,
André |
Dupli |
Elica |
CD |
|
Alog |
Red Shift Swing |
Rune Grammofon |
CD |
1999 |
Alog |
Duck-Rabbit |
Rune Grammofon |
CD |
2001 |
Aloof
Proof |
Expo One |
Carbon Base |
CD |
|
Alpes -
Patrice Moullet |
Rock sous la Dalle |
Spalax |
CD |
|
Alpha |
Pepper |
Melankolic |
CD |
1997 |
Alpha |
Come from Heaven |
Melankolic |
CD |
1997. It's easy
to see why Massive Attack handpicked Bristol's Alpha (Andy Jenks and Corin
Dingley) for their Melankolic label. Like Massive Attack, Alpha rolls out
languid grooves dripping with strings, heart-tugging vocal turns, and
luscious production. Jenks and Dingley are veterans of such underrated
projects as Statik Sound System and Sugarboat, and the classy and assured Come from Heaven speaks for years of
experience. Following the Massive Attack model, several singers share Alpha's
vocal assignments. Helen White's honey-sweet alto pipes (sounding uncannily
similar to Portishead's Beth Gibbons) carry "Slim" and "With,"
while Wendy Stubb's delivers "Rain" and "Nyquill" in
caramel tones, and "Sometime Later" and "Back" soar on
Martin Bernard's soulful tenor. White and Bernard split "Delaney,"
a slice of cherubic indie-R&B, to fine effect. Alpha's sample sources are
often familiar. Gershwin, Bacharach/David, Memphis Slim, Herb Alpert, Bobby
Gentry, Michel Legrand, Dusty Springfield, and Francis Lai are among those
whose hooks and strings are pilfered and recast in these fresh, frothy
arrangements. Come from Heaven has a nicely cinematic spin, evocative of '60s bijou marquees
and '70s Soho chic. The centrifuged dub instrumentals ("Hazeldub,"
"AppleOrange") stand out, despite the quality of the vocal pieces,
and pave the way for Pepper,
1998's varied set of Heaven
remixes. |
Alphane
Moon |
The Echoing Grove |
Camera Obscura |
CD |
1994. As Our
glassie Azoth, the Welsh duo of Dafydd and Ruth traverses the chaotic heart
of psychedelic music. Forgoing riffs for alchemy, OgA’s albums are nothing
less than howling, hair-raising exorcisms of blinding white noise. When the
squall of OgA’s feedback hurricanes subsides, Alphane Moon is revealed. As
experienced in the opening swirl of “An Open Entrance,” these magic moments
achieve a rare sense of consequence. We witness the total transfiguration of
Dafydd and Ruth, their swaddling of Dionysian cacophony cast aside for the
white robes of pastoral mysticism. The Echoing Grove was originally released in multiple cassette micro-runs. For
most, however, this extraordinary CD will serve as a first exposure to
Alphane Moon’s arcane workings. Prayer and incantation both figure within
this acid-gilded ceremony, though not in any traditional sense. What few
words are uttered owe everything to the tradition of British Isles
folk-poetry. This is a ritual in sound, not text. Guitars coruscate and
radiate, elevating tricky, Pink Floyd-ian noises to a state of luminescent
drone/flux sublimity. From the glimmering “Circle Of Four” to the blazing
psyche-delirium of “Reap A Field Of Light,” the sound that floods The Echoing Grove is absolutely
supernatural. This isn’t just music—it’s magic. |
Alphastone |
Elasticated Waveband |
Enraptured |
CD |
2000 |
Alphastone |
Life's a Motorway EP |
Enraptured |
CD5 |
2001 |
Alphatronic |
Solitary |
Inzec |
CD |
2000 |
Alter
Ego |
Alter Ego |
Harthouse |
CD |
1994 |
Alter
Ego |
Alterism |
Harthouse |
CD |
1996 |
Alter
Ego |
Decoding the Hacker Myth |
Harthouse |
CD |
1996. Whether by
coincidence or by design, German producers Roman Flügel and Jörn Elling
Wuttke entertain many alter egos. They record for various labels as
Sensorama, Acid Jesus, Primitive Painter and Eight Miles High. Alter Ego is a
particularly important project for Flügel and Wuttke, as the music released
under this name has allowed them to break free of the tyrannical
trance-techno scene that holds court in Germany. Like the duo's English
contemporaries (B12, As One, Reload, The Black Dog, etc), the warm and bubbly
sound of Decoding is a reverent
response to the crystalline electronic soul of Detroit techno. Nothing could
be more unfashionable back in Frankfurt. Flügel was once a jazz drummer and
pianist, and his gift for syncopation marks the buoyant "Mescal"
and the accented swing of "Cyax Pt. 2." Decoding is constructed with a subtle inclination toward the
unexpected—be it a single stuttered beat, a tart rhythmic twist, or a
gloriously tangled melody—that rewards concentrated listening. That is, if
you're able to sit still. The intricate grooves of a "Slacker" or
"Microshopping" shoot for the hips as well as the head. Headphones
are optional. Alter Ego plays to your heartstrings. |
Alva
Noto |
Prototypes |
Mille Plateaux |
CD |
2000. The Mille
Plateaux debut of the magus of microsound minimalism proved to be a
surprisingly "maximal" presentation. On this adjunct soundtrack to
a 1999-2000 Guggenheim installation/performance, Carsten Nicolai exceeds the
inaudible parameters he usually favors. Instead, he joins post-industrial
peers Pan Sonic in the exposition of corroded-techno infrastructures and
ear-straining extremes of frequency modulation. Prototypes navigates sonic complexes delineated with bell-like sonar tones,
insect-friendly frequencies, sine-wave sonics and the hiss of open-channel
static. The 10 untitled tracks traverse a carefully mapped looking-glass
world of sound, where serpentine click-and-cut rhythms rattle, alien chirring
fills the trees and sky and substrata belch bass through cracks and
crevasses. Were it not for Nicolai's expert orientation, it would be all too
easy to lose oneself along the path through Prototypes' metamusical hinterlands--especially when the ionic flux of the
final track swallows Nicolai's scattered signpost beats. |
Alva
Noto / Signal / Byetone / Komet |
Mort aux Vaches |
Mort aux Vaches/Staalplaat |
2CD |
|
Amalgamation
of Soundz, the |
Theory EP |
Filter |
12 |
1996 |
Amazing
Blondel |
Fantasia Lindum |
Edsel |
CD |
1971 |
Ambarchi,
Oren |
Stacte 1 |
Jerker Productions |
LP |
1998 |
Ambarchi,
Oren |
Stacte 2 |
Jerker Productions |
LP |
1998 |
Ambarchi,
Oren |
Suspension |
Touch |
CD |
2001 |
Ambarchi,
Oren |
Mort aux Vaches: Song of
Separation |
Mort aux Vaches/Staalplaat |
CD |
2002 |
Ambarchi,
Oren |
Insulation |
Touch |
CD |
1999. Though
comfortable in pop, punk and other “conventional” settings, Ambarchi is
happiest when turning his guitar towards more expansive and exploratory
means. In the spirit of such renegade axe-men as AMM’s Keith Rowe, Christian
Fennesz, Kevin Drumm and Jim O’Rourke, Ambarchi’s solo improvisations are
concerned with making a guitar sound like anything-but-a-guitar. Considering
its limited source,Insulation is
nothing less than a parade of sonic impossibilities. Ambarchi’s performances
transcend his instrument’s apparent range, offering watery gurgle,
euphonically fabricated feedback, shimmering phantom-notes, wildly zigzagging
piezoelectric effects, expressive chirps, and harmonic ghosts. The intimated
pulse-rhythms of “Concurrents,” “Lungs” and “Murmurs” imply extensive
computer trickery, as do the pseudo-breakbeat maneuvers of “Strategem”.
Remarkably, Ambarchi shuns any computerized contrivance or editing artifice,
relying solely upon technical ingenuity. That makes such showstoppers as
“Study No. 1” and “Study No. 3,” dizzy musique concrète-styled displays of
amusing electro-acoustic noises, all the more astonishing. |
Ambarchi,
Oren & Günter Müller & Voice Crack |
Oystered |
Audiosphere |
CD |
2003 |
Ambarchi,
Oren & Johan Berthling |
My Days are Darker than Your
Nights |
Häpna |
CD |
2003 |
Ambarchi,
Oren & Martin Ng |
Reconnaissance |
Staubgold |
CD |
2000 |
Ambarchi,
Oren & Martin Ng |
Vigil |
Quecksilber |
CD |
2003 |
Ambarchi,
Oren & Robbie Avenaim |
Clockwork EP |
Jerker Productions |
CD3 |
1999 |
Ambarchi/Fennesz/Pimmon/Rehberg/Rowe |
Afternoon Tea |
Ritornell |
CD |
1999 |
Ambidextrous |
Errorism |
Shaped Harmonics |
CD |
|
Ambush |
Rumors |
Possible |
CD |
1998. Since
leaving his post as Napalm Death's inhumanly fast drummer, Mick Harris has
entrenched himself in a realm of claustrophobic sonics—first with the
terror/dub/metal syntheses of Scorn, then as a prolific voyager on the
darkest fringes of drum n' bass and concentrated ambience. He has also
established the Possible label, in the interest of attracting musicians who
share his inclination for cavernous beats and overcast miasmic atmospheres.
Ambush (Glen Eswall) is among those who have been drawn toward Harris'
shadows. On Rumors, Eswall tears
through walls of bleakly melodic black-hole synth and Hoover-phonic bass with
acute breakbeats. The snare hits on "Forget It" are keen and
forceful, suggesting a crated beast battering against its enclosure with
escalating petulance. Paved with relentless wall-to-wall rhythms, and with
wicked glints like set-in razorblades flashing from all sides, Rumors offers no escape route. Such
titles as "Cornered" and "No Chance" only exacerbate the
overwhelming sense of entrapment. Even with the doom and gloom aura, Ambush's
rhythmic pummeling is not as unbearable as you might suspect. This flagellation
really gets your blood flowing—but stops short of drawing it. |
Ame Son |
Catalyse |
Spalax |
CD |
1970 (1994) |
Amephone |
The Branch |
360º |
CD |
1998 |
American
Analog Set, the |
Diana Slowburner EP |
Trance Syndicate |
7 |
1995 |
American
Analog Set, the |
Late One Sunday & the
Following Morning |
Darla - Bliss Out |
CD |
1997 |
American
Analog Set, the |
The Golden Band |
Emperor Jones |
CD |
1999 |
American
Analog Set, the |
Through the 90s: Singles and
Unreleased |
Emperor Jones |
CD |
2001 |
American
Analog Set, the |
The Fun of Watching Fireworks |
Emperor Jones |
CD |
1996. Fort
Worth’s American Analog Set hails from the school of post-Velvet Underground
sedative guitar/keyboard strum-and-swell that gives us Galaxie 500, Yo La
Tengo and Stereolab. AmAnSet’s music is even gentler—if that’s possible.
Instead of angular outbursts or feedback squalls, here we find a splash of
cheery ‘60s-styled psychedelia, with fickly flitting flutes, fluttery Farfisa
melodies, a lyrical preoccupation with all things warm and bright, and cooing
boy/girl voices mingled like the hues of a rosy sunset. This co-ed quartet
has perfected the art of the lock-groove lullaby, enticing you to close your
eyes and blissfully follow AmAnSet down the road to nowhere in particular.
Guitars jingle and jangle, basslines ramble, and vintage synthesizers chug
like the Land of Nod express, puffing out pastel clouds that spread out as
invitingly as a sky-wide bed. You won’t find many edges here, though “On My
Way” and “It’s Alright” are a li’l bit country, and cymbal-heavy drumming
allows “Dim Stars” to pass for perky. “Gone To Earth” and “Too Tired To Shine
II” shimmer and slither, content to ramble deliciously like miles of heavenly
highway. Fireworks’ slow and
steady pace wins no races, but AmAnSet’s sleepy charms do win your heart. |
American
Analog Set, the |
From Our Living Room to Yours |
Emperor Jones |
CD |
1997. The
quartet's sleepy caravan rambles on, mindless of maps and charts as it
navigates the landscape of gentle psychedelia. While still very much in
thrall to the power of drone-y, dreamy guitar and confectionery synth, the
AmAnSet shows a little more energy and direction on its second album.
Guitarist Andrew Kenny’s trickling, ticklish Möbius-strip riffs are
ingenious, and his bright surf-guitar tone plays well against the exquisite
billows and shimmers of Lisa Roschmann’s Farfisa organ. In combination with a
beautifully restrained rhythm section, the sound is so mesmerizing and
calmative that “Magnificent Seventies” feels short at a “mere”
eight-minutes-and-change. There’s ample evidence of AmAnSet’s roots in the
chugging post-Velvet Underground sound of Galaxie 500/Luna and Stereolab,
particularly in the acrobatic basslines, gooey “ba-ba-ba” vocals and
(relatively) boisterous synth-sweetened jangle of “White House.” But Living Room suggests that someone here
has also been listening to Ennio Morricone’s stirring Spaghetti Western
scores. Drama drips from the plangent guitar lines of “Where Have All The
Good Boys Gone,” and “Two Way Diamond” drifts majestically over the high
plains, dissolving into ambient ether spangled with backwards chimes. Living Room is an exquisite album,
bubbling over with quiet intensity and beautiful songcraft. |
Ami |
Spiritual
Voice |
1040 |
CD |
|
AMM |
AMMusic 1966 |
ReR |
CD |
1966 |
AMM |
The Crypt |
Matchless |
2CD |
1968 |
AMM |
To Hear and Back Again |
Matchless |
CD |
1974 |
AMM |
Generative Themes |
Matchless |
CD |
1983 |
AMM |
Combine+Laminates / Treatise '84 |
Matchless |
CD |
1984 |
AMM |
The Nameless Uncarved Block |
Matchless |
CD |
1990 |
AMM |
Newfoundland |
Matchless |
CD |
1992 |
AMM |
Laminal |
Matchless |
3CD |
1996 |
AMM |
Fine |
Matchless |
CD |
2002 |
AMM |
From a Strange Place |
PSF |
CD |
1995-6 |
Amnesia |
Cherry Flavor Night Time /
Electric Company Plays Amnesia |
Island |
2CD |
1997 |
Amnesia |
Lingus |
Island |
CD |
1998 |
Amoeba |
Watchful |
Lektronic Soundscapes |
CD |
1997 |
Amoeba |
Pivot |
Release |
CD |
2000 |
Amon
Düül I |
Collapsing |
Spalax |
CD |
1969 |
Amon
Düül I |
Disaster |
Spalax |
CD |
1969 |
Amon
Düül I |
Experimente |
Spalax |
CD |
1969 |
Amon
Düül I |
Psychedelic Underground |
Captain Trip |
CD |
1969 |
Amon
Düül I |
Para Dieswärtz Düül |
Spalax |
CD |
1970 |
Amon
Düül II |
Phallus Dei |
Captain Trip |
CD |
1969 |
Amon
Düül II |
Dance of the Lemmings |
Mantra FR |
CD |
1971 |
Amon
Düül II |
Carnival in Babylon |
Captain Trip |
CD |
1972 |
Amon
Düül II |
Wolf City |
Captain Trip |
CD |
1972 |
Amon
Düül II |
Lemmingmania |
Gammarock |
CD |
1974 |
Amon
Düül II |
Hawk Meets Penguin |
Magnum |
CD |
1981 |
Amon
Düül II |
Nada Moonshine # |
Mystic |
CD |
1996 |
Amorphous
Androgynous |
The Mello Hippo Disco Show |
Artful/FSOL |
CD |
2003 |
Amp |
Beyond / Lutin |
Wurlitzer Jukebox |
7 |
1996 |
Amp |
Frise / Le Petit Chat |
Wurlitzer Jukebox |
7 |
1996 |
Amp |
Get There / Remember |
Linda's Strange Vacation |
7 |
1996 |
Amp |
Sirenes |
Petrol |
CD |
1996 |
Amp |
Astralmoonbeamprojections |
Kranky |
CD |
1997 |
Amp |
Passé Present |
Enraptured |
CD |
1997 |
Amp |
Perception |
Darla - Bliss Out |
2CD |
1997 |
Amp |
Stenorette |
Kranky |
CD* |
1998 |
Amp |
Sunflower EP |
Ochre |
CD5 |
1998 |
Amp
& The Third Eye Foundation / Saddar Bazaar |
Ombres / Arabesque |
Enraptured |
7 |
1996 |
Amp /
Centipede |
There She Goes / White |
Kake Mix |
7 |
1997 |
Ampbuzz |
This is My Ampbuzz |
Strange Attractor's Audio House |
CD |
2002 |
Anaksimandros,
the |
Life is a Skullbow |
Vegalia/Vauva |
LP |
|
Anal
Magic & Reverend Dwight Frizzell |
Beyond the Black Crack |
Paradigm Discs |
CD |
1976 (1999) |
Analogue |
Rock Proper |
Rubric |
CD |
1996 |
Analogue |
AAD |
Sonic Bubblegum |
CD |
2000 |
And
Also the Trees |
And Also the Trees |
Reflex |
CD |
1984 |
And
Also the Trees |
Virus Meadow |
Normal |
CD |
1986 |
And
Also the Trees |
The Millpond Years |
Normal |
CD |
1988 |
And
Also the Trees |
Farewell to the Shade |
Normal |
CD |
1989 |
And
Also the Trees |
Green is the Sea |
Normal |
CD |
1991 |
And
Also the Trees |
The Klaxon |
Normal |
CD |
1993 |
And
Also the Trees |
Angelfish |
Mezentian |
CD |
1996 |
And Also
the Trees |
Silver Soul |
And Also the Trees |
CD |
1998 |
Anderegg |
When Rectangles Roll Under
Cities |
Apestaartje |
CD |
2001 |
Anderson,
Laurie |
Mister Heartbreak |
Warner Music |
LP |
1984 |
Andy,
Horace |
Skylarking |
Melankolic |
CD |
1997 |
Anemonengurt |
Wo die Ebenen Geglättet Sind |
Dom Elchklang |
CD |
1995 |
Angel,
Dave |
Classics |
R&S |
CD |
1996 |
Angel,
Dave |
Tales of the Unexpected |
Blunted |
CD |
1996 |
Angel'in
Heavy Syrup |
IV |
Monotremata |
CD |
1991 |
Angel'n
Heavy Syrup |
II |
Alchemy |
CD |
1993 |
Angel'n
Heavy Syrup |
III |
Charnel |
CD |
1995 |
Angel'n
Heavy Syrup |
I |
Subterranean |
CD |
1999 |
Angels
of Light |
How I Loved You |
Young God |
CD |
2001 |
Angels
of Light |
Everything is Good Here / Please
Come Home |
Young God |
CD |
2003 |
Angels,
the |
Biographer EP |
At a Glance |
7 |
|
Anibaldi,
Leo |
Void |
Rephlex |
CD |
1996 |
Anima
Sound |
Musik für Alle |
Alga Marghen |
CD |
1972 (2000) |
Animal
Collective |
Campfire Songs |
Catsup Plate |
CD |
|
Animals
on Wheels |
Designs & Mistakes |
Ninja Tune |
CD |
1997 |
Animals
on Wheels |
Nuvol I Cadira |
Ninja Tune |
CD |
1999. Andy
Coleman led the charge when drum n' bass took an enthusiastic left turn
toward the spastic burp-beats and frenzied time-signatures of
“drill-and-bass.” As producers traded precision for sloppy energy, Coleman’s
Animal on Wheels project at least retained a core of solid songcraft amid its
zanier deviations. The headz at Ninja Tune recognized this standout quality,
snapped up AoW from Coleman’s micro-indie Bovinyl label, and loosed him on
the world. Nuvol i Cadira,
Coleman’s second AoW album for Ninja Tune, repays the downtempo empire’s
investment in spades. Coleman is still too clever by half, though here he
harnesses his eccentricities in service of some truly memorable music. The
refined AoW sound is a close cousin to Boards of Canada’s “toytronic” whimsy,
with hazy, lazy melodies hammered out on melting xylophones and ancient
synths, kinky yet crisp hiphop beats and oddball sample drop-ins. But Nuvol i Cadira has a genuine richness
that reveals more of itself with each spin. Such tracks as “How it
Destructs,” “To a Void You is All Now" and “Them to BC” bolster AoW’s
trademark scatter-breaks with a melange of jazz drumming, dreamy electronics,
tricked-out production, moody melodies and fusion froth. Cordially decadent
and simply delectable. |
Animals
that Swim |
Workshy |
Elemental |
CD |
1995 |
Animals
that Swim |
Faded Glamour EP |
Elemental |
CD5 |
1996 |
Animonstré |
36 Apparitions |
Animonstré |
CD-R |
|
Animonstré |
Mon Ami le Monstre est Mon Ami |
Animonstré |
CD-R |
|
Anjali |
Sheer Witchery |
Wiija |
CD |
|
Ankersmit,
Thomas |
Solo Saxophone |
Tomas Ankersmit |
CD-R3 |
2001 |
Annexus
Quam |
Osmose |
Spalax |
CD |
1970 |
Anodyne |
Anodyne |
Ultramack |
CD |
|
Another
Fine Day |
Life Before Land |
Beyond |
CD |
1994 |
Another
Fine Day |
Salvage |
Six Degrees |
CD |
2000 |
Ansorge,
Harri |
Dwot |
Irrah Verlag |
CD |
|
Ant-Bee |
Lunar Muzik |
Divine |
CD |
|
Antenna
Farm & Main |
AF_M |
Extrapool / Staalplaat |
CD |
2001 |
Antiroc |
Particle Accelerator EP |
Series500 |
12 |
1996 |
Antony
and the Johnsons |
Antony and the Johnsons |
Durtro |
CD |
1997 |
Antunes,
Jorge |
Savage Songs: Early Brazilian
Electronic Music |
Pogus |
CD |
2002 |
Anzola,
Eloy |
InvalidObject (return) |
Fällt |
CD3 |
|
Aonox |
Aonox |
Visible |
CD |
|
Apartments,
the |
The Evening Visits |
Hot |
CD |
1985 |
Aphasia |
Stereoisomerism |
Korm/Staalplaat |
CD |
1997. Sound
collage is the art of fabricating a new reality from scattered bits and
pieces. Academics call it musique concrète, though these organized
compositions of reconstituted found-sound and environmental noise are less
real than impressions of reality. Concrète artists mirror the world in their
soundscapes, but they also impose their own peculiar order upon things.
Through tape splicings and electro-acoustic manipulation, musique concrète
realizes the unimaginable. Impossible juxtapositions occur, place and time
are subtly distorted, and “real music” starts to sound like an artistic
abstraction. Aphasia (Richard Johnson) begins with the mundane. Though the
sounds and noises woven into his concrète tapestry have often been processed
beyond recognition, the audible shufflings, scratchings, drizzlings,
clatterings and musical snippets can still be traced back to their
commonplace origins. Johnson’s brilliant trick is to impress the thoroughly
unnatural rhythms of drum n’ bass upon this pseudo-realistic canvas. Since
these stumbling and stammering breakbeat patterns are so much more frenetic
than the subtle pulse of everyday life, the discrepancy creates fantastic
incongruities. When Johnson takes the process further, literally twisting the
sounds of reality itself into skittering breakbeats, all relation to the
“real” is severed, and the genius of Stereoisomerism is truly revealed. |
Aphasia |
Mesospheric Breaks |
Noise museuM |
CD |
|
Aphelion |
Zugzwang |
DeFocus |
CD |
2000.
Four UK producers who temper their deep devotion to Detroit and the
derivatives of avatars like The Black Dog and As One with equal reverence for
older space-minded music (especially Klaus Schulze, Tangerine Dream, and
Brian Eno). Electronica past, present, and future have seldom come together
as beautifully as they do here. Aphelion may hail from England, but “Bound,”
"Fornax" and "Arrest" are Detroit techno of the very
highest order. Juan Atkins would be proud to claim such sonic sunrises and
sequenced cascades as his own. The beatless "Lucier" and the
soundtrack storytelling of "Deep Adj" soar to heights of
sky-tracing loveliness, held aloft by the celestial soul-jazz of
"Movements." |
Aphelion |
Click EP |
DeFocus |
12 |
|
Aphex
Twin |
On EP |
Warp |
CD5 |
1993 |
Aphex
Twin |
On Remixes EP |
Warp |
CD5 |
1993 |
Aphex
Twin |
Selected Ambient Works |
Warp |
CD |
1993 |
Aphex
Twin |
Selected Ambient Works Vol. 2 |
Warp |
2CD |
1994 |
Aphex
Twin |
Donkey Rhubarb EP |
Warp |
CD5 |
1995 |
Aphex
Twin |
I Care Because You Do |
Warp |
CD |
1995 |
Aphex
Twin |
Girl/Boy EP |
Warp |
CD5 |
1996 |
Aphex
Twin |
The Richard D. James Album |
Warp |
CD |
1996 |
Aphex
Twin |
Cock 10/54 Cymru Beats Remixes |
Warp |
12 |
2001 |
Aphex
Twin |
Drukqs |
Warp |
2CD |
2001 |
Aphex
Twin |
Classics |
R&S Ambient |
CD |
1995. Richard D.
James is that rarest of artists, untouched and unaffected by trends or
popular currents yet inspiring millions of imitators with every move. He's
always moving forwards, not one to rest on laurels or dwell on past triumphs.
Reputedly self-taught, undeniably a genius and an innate innovator, James
expresses such remarkable qualities with an almost infuriating offhandedness.
Since an adolescence (mis)spent assembling and disassembling electronic
gadgets, the "bad boy" of electronic music has already advanced his
genre beyond all other popular forms. Even the tastes of the 30th Century may
fall short of catching up with him. Classics represents the flip side of the Selected
Ambient Works albums, collecting several of James'
early singles for Belgium's R&S Records. This is some of the Aphex Twin's
more grueling, monochromatic material ("Phloam," "Tamphex
(Hedphuq Mix)," "Metapharstic"). But James' rarefied cerebral
melodies soar above the rhythmic grind, particularly on
"Polynomial-C" and "Dodeccaheedron." Also included are
"Analogue Bubblebath I" and "Digeridoo," still brilliant
tracks that brought James instant—and, one would imagine, unwelcome—fame. The
latter approximates aboriginal drone with homemade devices, while the
former's pristine Detroit-styled melodic percolations, crafted with (original
Aphex "Twin") Tom Middleton, are the Aphex Twin's extraordinary
beginnings. |
Aphex
Twin |
Raising the Titanic Mixes |
Point |
12 |
|
Apiary,
the |
Descent |
Foundry |
CD |
|
Apollon
vs. Muslimgauze |
Dark Thoughts |
D.O.R. |
CD |
|
Apollon
vs. Muslimgauze |
Year Zero |
D.O.R. |
CD |
|
Appelqvist,
Hans |
Att möta verkligheten |
Häpna |
CD3 |
|
Appleton,
Jon |
Contes de la Mémoire |
empreintes DIGITales |
CD |
|
Appliance |
Imperial Metric |
Mute |
CD |
|
Appliance |
Land, Sea and Air EP |
Mute |
CD5 |
|
Appliance |
Six Modular Pieces |
Mute |
CD |
|
Aquarhythms |
Greetings from Deepest America |
Astralwerks |
CD |
1997.
American-abroad Jay Patrick Ahern made a minor splash in ethereal-indie
circles as Flower Sermon before taking a headlong dive into the international
DJ circuit. Reemerging from the life-waters of Chicago house and Detroit
techno, Ahern released a shoal of limited twelve-inches under such mysterious
aliases as The Hydronaut and The Aquarian. His shimmering, groove-heavy
records were immediately snapped up by the most influential and innovative
techno and house producers, and the legend of Aquarhythms was born. Greetings from Deepest America compiles
five tracks from the Aquarhythms series and supplements Ahern's originals
with four stellar remixes. "Hydroelectronics" and "Stellar
Jazz," pools of liquescent melody rippled and tugged by the tidal pull
of a funky electro undertow, are typical of the Aquarhythms material.
Progressive-trance icon Rabbit on the Moon accentuates the ebb and flow of
the vocal "Heart Seqs" with spiraling acid surges. In his
"Reversion" of "Deep In The Feeling," East Coast Detroit
disciple Morgan Geist gently floats Ahern's aquatic rhythms above a bubbling
tech-house current. Deep Dish's colorful "Xuxu" remix bounces
"Ether's Whisper" on a fibrillating fun-house beat. Finally,
Detroit has its say, with the intoxicating electronic drift of Carl Craig's
exquisite and soulful "Warm Seqs." mix. |
Aqueous |
Tall Cloudtrees Falling |
Hermetic |
CD |
|
AR
Kane |
New Clear Child |
Luaka Bop |
CD |
1994. A.R.
Kane's quest began as a self-described synthesis of "Miles Davis and the
Cocteau Twins," ultimately leading Alex Ayuli and Rudi Tambala to
discoveries that altered the vocabulary of pop. On their seminal EPs and the
ambitious 69 and "i," A.R. Kane combined elements of
"White" music (scathing feedback, effects-laden guitar cascades)
and "Black" music (soulful vocals, unabashed grooves and club
beats, jazz syncopation) in startling, previously unimagined ways. As half of
M.A.R.R.S., forgers of the colossal, sample-heavy "Pump Up The
Volume," Ayuli and Tambala also changed dance music forever. Burdened
with the magnitude of such accomplishments, New Clear Child was met with disappointment and precipitated A.R. Kane's
dissolution. They had abandoned London for the West Coast, and their new
music radiated a distinctly Californian quasi-mysticism and sunny,
love-affirming spirituality. The soul-on-ice stylings of "Honey Be (For
Stella)," "Gather" and "Grace" are beautiful and
heartfelt, outshining similar efforts by PM Dawn or Seal while prefiguring
Tambala's triphop project, Sufi. Such blissed confections as "Deep Blue
Breath," "Sea Like A Child," and "Snow White's
World" retain A.R. Kane's inimitable strangeness, rivaling the
magnificence of late-period Talk Talk. Even if this resplendent experimental
soul music was out of step with the cynicism of the '90s, New Clear Child is another
"dreampop" wonder. |
AR Kane |
69 |
Rough Trade |
CD |
|
AR Kane |
I |
Rough Trade |
CD |
|
AR Kane |
Lollita EP |
4AD |
12 |
|
AR Kane |
Love~Sick EP |
Rough Trade |
12 |
|
AR Kane |
Rem'I'xes |
Rough Trade |
CD |
|
AR Kane |
Sea Like a Child EP |
Third Stone |
CD5 |
|
AR Kane |
Up Home EP |
Rough Trade |
12 |
|
AR Kane |
When You're Sad EP |
Rough Trade |
12 |
|
Arai,
Riow |
Circuit '72 |
Silver Stone |
CD |
|
Arai,
Riow |
Mind Edit |
Soup Disk |
CD |
|
Aranos |
Transfixiatio |
Noise museuM |
CD |
1998. Aranos
contributed the weepy, wiry fiddling heard on Nurse With Wound’s 1997 album, Acts of Senseless Beauty. His skittering
refrains, wrenched into distorted and dreamlike forms to complement NWW’s
Dadaist sonic splatterings, heralded the arrival of a truly mysterious
musician. With this contribution to Noise Museum's "New Music"
series, Aranos bridges undefined musical spaces. The violinist manipulates
the sonorous resonances of bowed glass, metal and stone, crafting backdrops
for synthesizer phrasings that sidle melody by inching up and down invented
tonal scales. The barbed, piercing spun-gold lashings of his violin serve to
bind the reluctant marriage of organic sounds and electronic envelopes. On
"Light," Aranos’ deliberately slow bowing simulates a psychic
battery, accumulating charged energies and amplified echoes of predominantly
dark and prismatic timbres. Like the imaginings of fitful dreams, this music
is alive with dancing shadows and charcoal sketches of anatomical perversions
worthy of Czechoslovakian animators. The 23-minute title track and the
capering, bellowing “Enter” toe the very brink of infernal abandon.
"Skip" and "Neverflame," manic minuets for mincing
fire-demons and airborne angels, imbue Aranos' mutant chamber stylings with a
delirious stripe of improvisational danger. Here Transfixiatio finally dares to leap off the edge and into undiscovered
neoclassical hinterlands. |
Aranos |
Every Bright Body Gleams Green |
Noise museuM |
CD |
1999. Like the
conductor of a gypsy band whose members have been scattered throughout
far-flung galaxies, Petr Vastl stands astride the good ship Earth as she
sails through the stars, cosmic riggings creaking and complaining. Vastl
strums silver strings, blows horns, rings bells, and issues voices that echo
across time, mingling with data leaking through the faulty wires of orbiting
communication satellites. On most
tracks, only the residue remains of his trademark violin, adding to the dust
and debris caught within the eddies of the album’s sphere. Intimate and
enormous in equal measure, the sounds of Every Bright Body
Gleams Green, seemingly divined from the kosmiche
ballet of early Tangerine Dream and rustic European folk musics, encompass
events unfolding both on the microscopic stage of cellular division and
within the immense theater of prenatal planetary systems. |
Aranos |
Magnificent! Magnificent! No One
Knows the Final Word! |
Pieros |
CD |
|
Aranos |
Making Love in Small Spaces |
Pieros |
CD |
|
Aranos
/ Mueller / Rossenau |
Bleeding in Behind Pastel
Screens |
Crouton |
CD |
|
Arbete
och Fritid |
Arbete och Fritid |
MNW |
CD |
|
Arbol |
Arbol |
Indus Sonica |
CD |
|
Arc vs.
Tiny Objects in Space |
Arc vs. Tiny Objects in Space |
12K |
CD |
|
Arcane
Device |
Diabolis ex Machina |
Korm Plastics |
CD |
|
Arcane
Device |
Envoi in Cumin |
Play Loud |
CD |
|
Arcane
Device |
Trout |
Silent |
CD |
|
Arcane
Device / PGR |
Fetish |
Silent |
CD |
|
Archer,
Martin |
Disconnected Bliss |
Discus |
CD |
|
Archer,
Martin |
Ghost Lily Cascade |
Discus |
CD |
|
Archer,
Martin & Simon Fell |
Pure Water Construction |
Discus |
CD |
|
Arche-Type |
Marmalade Pa.Pa |
Nan |
CD |
|
Arche-Type |
Sky Scraul Space (Movies
1992-1995) |
Zero Gravity |
CD |
|
Architectronics |
Architectronics |
Construction Sounds |
CD |
|
Architectural
Metaphor |
Odysseum Galacti |
Architectural Metaphor |
CD |
|
Archive |
Londinium EP |
Island |
10 |
|
Archive |
So Few Words EP |
Island |
12 |
|
Arco
Flute Foundation |
Arco Flute Foundation |
Cenotaph Audio |
LP |
|
Arco
Flute Foundation |
Everything after the Bomb is
Sci-Fi |
Cenotaph Audio |
CD |
|
Arco
Flute Foundation |
The Third Lesson in New Era
Time: Running Slow Motion Marathons with Purple Rejoice; Who Killed the Party
House? |
Cenotaph Audio |
CD |
|
Arcon 2 |
The Beckoning |
Reinforced |
CD |
|
Area |
Maledetti |
Cramps |
CD |
|
Argonort |
Mingus EP |
Dot |
12 |
|
Ariel |
Starbody EP |
Vinyl Communications |
12 |
|
Arkkon |
Rotunda |
Soleilmoon |
CD |
2000. Beyond his
associations with Danielle Dax and the Shock Headed Peters, David Knight
pursues his solo muse across the shadowy side of progressive
cinema-for-the-ear soundscaping. His second Arkkon album, Rotunda conjures places imagined and moments lost in invented histories
through visions wrought from synth vapors, decocted samples and instrumental
apparitions. Ziggurats shrouded in the smoke of sacrificial bonfires rise
from fallow fields. Timewinds shape dark dunes beneath which coiled forms
writhe in restless slumber. Fairies slip through the moonlit lacework knit by
bare branches and frolic among forest-floor fungi. A well-traveled visitor’s
sudden fall from above lights the night sky, and Knight descends into the
briny deep to bear silent witness as tide and time devour craft and crew and
settle back in sated contentment. Knight also backs firebrand Lydia Lunch as
she demands equal rights for the voiceless victims of both the human and
natural worlds. |
Arovane |
Atol Scrap |
DiN |
CD |
2000.
Uwe Zahn's appealing Arovane formula can be summed up as state-of-the-art
electronica reacquainted with its sensitive side. Synthesized bells ring out
volleys of teardrop twinkles and lapping waves of melody. Basslines bubble
invitingly. Interlocked mechanical rhythms subtly gnash and scrape. Melodious
moodiness tempers jolts of dissonance, distortion and rhythmic disturbance.
The gentlest offerings have an organic, almost tidal quality, but even the
more agressive tracks are comfortably removed from techno's constitutional
urban-industrial grid. |
Arovane |
Tides |
City Centre Offices |
CD |
|
Arovane
& Phonem |
Aer (Valid) |
Vertical Form |
CD |
|
Arrow
Tour |
Postcards From... |
Childisc |
CD |
|
Art
& Technique |
Clima-x |
Spalax |
CD |
|
Art
Ensemble of Chicago |
A Jackson in Your House /
Message to Our Folks |
BYG/Actuel/Fuel 2000 |
CD |
|
Art of
Noise, the |
In Visible Silence |
Chrysalis |
LP |
|
Arthur,
Malcolm |
Programmers EP |
Drop Beat |
12 |
|
Artificial
Memory Trace |
9: Distori (Noah) |
Sonoris |
CD |
1999. Slavek Kwi
is one of those ambitious sound artists whose collected releases, when taken
together, constitute a grand, cohesive body of work. Chapters in Kwi’s main
opus, the Artificial Memory Trace series, have emerged as CDs, as cassettes,
as soundtracks, and as compositions for radio. These scattered volumes are
unified by the Artificial Memory Trace concept—musique concrète compositions
created to reflect and incorporate the sounds of the universe. Falcons,
flamingos and distressed computers take the starring role on Distori (Noah). Kwi manipulates
recordings of birds, amphibians and insects captured in their natural
environments, ingeniously folding bits of a computer crash captured on tape
and synthesized voice samples into his extrapolation of caws and chirrs. The
13 compositions range in length and disposition, from the still, long-string
drone of “Skeletune(s)” and the uneasy calm of “ppp-Petrus” or “Aurorah” to
the activity condensed into the furious minutes of “Monokrom I.(b)-III.”
Kwi’s strongest gambit, the forced interaction of the habitual rhythms of
natural and mechanical systems, goes far beyond clever construction and
textural conjugation. “Makanik Mrak (Cloud I),” ”Fisilpao (Nostalgy
Randomized by Hardisc Error),” “Elekreon (Insekt Raga),” “Tribus (Cloud II)”
and “Foma (Soap-Foam in Zoom) encapsulate an eternal conflict between man and
the natural world. |
Artificial
Memory Trace |
5: Th Ality Absfract |
Audioview |
CD |
|
Artificial
Subterranne |
Water Regions of the Southwest
USA |
Wholly Other |
CD |
|
Arzachel |
Arzachel |
Akarma |
CD |
|
As One |
Celestial Soul |
New Electronica |
CD |
|
As One |
In with their Arps, and Moogs,
and Jazz and Things |
Clear |
CD |
|
As One |
Planetary Folklore |
Mo'Wax |
CD |
|
As One |
Reflections |
New Electronica |
CD |
|
As One |
Reflections on Reflections |
New Electronica |
CD |
|
As One |
The Art of Prophecy |
Shield |
CD |
|
Asa-Chang
& Junray |
Jun Ray Song Chang |
Leaf |
CD* |
|
Asa-Chang
& Junray |
Tsu Gi Ne Pu EP |
Leaf |
CD |
|
Asano,
Koji |
Preparing for April |
Solstice |
CD |
2000. Continuing
the Solstice sub-series represented by Celeste, You Can't Open the Door Because it's
Already Open and Monsoon, Preparing for April finds Asano back at the piano, in a room that lends its
intriguing shades of echo to the clusters of inquisitive chords and probing
phrases. When seated at his piano, Asano always seems to be searching. He
worries tirelessly at wood and ivory in pursuit of something elusive—possibly
unattainable. The deliberately crude monaural recording and heavy application
of the sustain pedal swathe many of these tracks in further layers of gauzy
mystery, while Asano’s non-technical embrace of the instrument translates
into genuine emotion rather than flying-finger display. |
Asano,
Koji |
A Secret Path of Rain |
Solstice |
CD |
2000. The cover
photograph, a weathered bridge, immediately suggests an invitation. But the
arrhythmic electrical discharges and grating static of A Secret Path of Rain,
shaped as though by the boring and gnawing actions of insects, are far less
welcoming. There is beauty here, albeit of a recondite and difficult strain,
if you're willing to work to extract it from the assymmetrical arrangements
of silence and electro-acoustic noise. Otherwise, A Secret
Path of Rain just sounds like an untreated field
recording of a termite-infested tree stump. |
Asano,
Koji |
A New Dam |
Solstice |
CD |
|
Asano,
Koji |
Absurd Summer |
Solstice |
CD |
|
Asano,
Koji |
Autumn Meadow |
Solstice |
CD |
|
Asano,
Koji |
Avalanches |
Solstice |
CD |
|
Asano,
Koji |
Caffeine |
Solstice |
CD |
|
Asano,
Koji |
Celeste |
Solstice |
CD |
|
Asano,
Koji |
Crevasses |
Solstice |
CD |
|
Asano,
Koji |
Flow/Augment |
Solstice |
CD |
|
Asano,
Koji |
Gondola Odyssey |
Solstice |
CD |
|
Asano,
Koji |
Gravity |
Solstice |
CD |
|
Asano,
Koji |
January Rainbow |
Solstice |
CD |
|
Asano,
Koji |
Momentum |
Solstice |
CD |
|
Asano,
Koji |
Monsoon |
Solstice |
CD |
|
Asano,
Koji |
Octopus Balloons |
Solstice |
CD |
|
Asano,
Koji |
Pheromone |
Solstice |
CD |
|
Asano,
Koji |
Piano Suite Vol. 1: Fitness Club
No. 1-20 |
Solstice |
CD |
|
Asano,
Koji |
Quoted Landscape |
Solstice |
CD |
|
Asano,
Koji |
Spherical Moss Factory |
Solstice |
CD |
|
Asano,
Koji |
Suite for Organ and Recorders
No. 1: The Alien Power Plant |
Solstice |
CD |
|
Asano,
Koji |
Sunshine Filtering through
Foliage |
Solstice |
CD |
|
Asano,
Koji |
The End of August |
Solstice |
CD |
|
Asano,
Koji |
The Last Shade of Evening Falls
1 |
Solstice |
CD |
|
Asano,
Koji |
The Last Shade of Evening Falls
2 |
Solstice |
CD |
|
Asano,
Koji |
The Last Shade of Evening Falls
3 |
Solstice |
CD |
|
Asano,
Koji |
The Last Shade of Evening Falls
4 |
Solstice |
CD |
|
Asano,
Koji |
Vacant Land |
Solstice |
CD |
|
Asano,
Koji |
You Can't Open the Door Because
it's Already Open |
Solstice |
CD |
|
Ascension |
Broadcast |
Shock UK |
2CD |
|
Ash
Castles on the Ghost Coast |
Ash Castles on the Ghost Coast |
Wholly Other |
CD |
|
Ash Ra
Tempel |
Inventions for Electric Guitar |
Spalax |
CD |
|
Ash Ra
Tempel |
Schwingungen |
Spalax |
CD |
|
Ash Ra
Tempel |
Seven Up |
Spalax |
CD |
|
Asha
Vida |
As One of One |
Icon |
CD |
|
Asha
Vida |
Eskimo Summer EP |
Audrey's Diary |
7 |
|
Asha
Vida |
Nature's Clumsy Hand |
Burnt Hair |
CD |
|
Asha
Vida / Godzuki |
Pinion / 12 Inch Dance Mix |
Binausic |
7 |
|
Asher,
Meira |
Spears into Hooks |
Crammed/SSR |
CD |
1999. Asher’s
confrontational music, a tempest of emotions fueled by radical feminism and
political indignation, has made the spoken-word artist a pariah in her native
Israel. Spears into Hooks,
recorded in the shadow of war while under self-imposed exile in Slovenia, is
even more unflinching than 1997’s Dissected. Distance from disapproval has empowered the already fearless
Asher. With multilingual confidence, aggressive eloquence, and savage
intellect, she rebukes the militant policies of the Israeli army, refracting
her country’s darkest hours through a prism of universal anguish, inhumanity,
and obstinacy. Her musical support ranges from lashings of electronic fury
and corrugated-metal breakbeats to mix-master Paul Kendall’s pervasively
unsettled atmospheres and the cordial brass arrangements of Macedonia’s Koçani
Orkestar. Spears is an
extremely difficult album and not an experience to be taken lightly. Asher’s
righteously vitriolic tirades and unvarnished post-modern ruminations upon
the hot-button issue of Israeli/Palestinian relations bear the shared weight
of history with incisive literary and Biblical allusions and with provocative
samples. Her remarkable gift is the ability to relate her controversial POV
to the wider scope of human experience. Asher may be an angry woman, but
she’s so much more than a feminist firebrand. Her music and her words demand
consciousness. While you may not always agree with her, she can not be
ignored. |
Asher,
Meira |
Dissected |
Crammed/SSR |
CD |
|
Asher,
Meira |
Sida/My Last Granny Remixes |
SSR |
12 |
|
Ashera |
Ambient Selections |
AW |
2CD |
|
Ashera |
Cobalt 144 |
AW |
CD |
|
Ashera |
Colour Glow |
AW |
CD |
|
Ashera |
We Gaia |
AW |
CD |
|
Ashley,
Robert |
In Sara, Mencken, Christ and
Beethoven There Were Men and Women |
Cramps |
CD |
1991 |
Ashley,
Robert |
Automatic Writing |
Lovely Music |
CD |
1974 (1996).
Experimental composer Ashley found himself dealing with a mild involuntary
speech problem in the mid-'70s. Depressed and disenchanted, he began
exploring the sonic implications of his condition. Automatic
Writing, composed in secret over five years, came of
Ashley's attempt at "forcing" spontaneous vocal sounds. This
remarkable piece winds through 46 minutes of tiny crepitations and non-verbal
mutterings and whispers, a mesmerizing subconscious dialogue between four
distinct "characters:" Ashley, intricate tape-splices of spoken
French, a groaning, gurgling Polymoog and the ribbon-fine melodious trickle
of an organ. Unpredictable and endlessly fascinating, Automatic Writing reveals music in
minutiae and compelling narrative in accident. Amid painfully intimate
insinuations, Ashley has hidden the map to psychological geography aglow with
a singular and utterly alien beauty. Automatic
Writing surrenders its secrets, but only with time
and patience. It is one of the most extraordinary musical experiences of the
20th Century. This reissue also includes excerpts from Ashley's earlier
opera, That Morning After.
The phonetic dissection of "She Was A Visitor" (1967) simulates a
dynamic beehive-choir effect, while the extremely unsettling "Purposeful
Lady Slow Afternoon" (1968) combines a woman's graphic account of sexual
encounters with webs of glimmering chimes and sighing musique concrète
"commentary." |
Ashra |
Sunrain |
Caroline |
CD |
|
Asian
Dub Foundation |
Frontline |
Beggars Banquet |
CD |
2001 |
Asian
Dub Foundation |
Facts and Fictions |
Beggars Banquet |
CD |
1995 (2002) |
Aspen |
Aspen |
Elefant Music |
CD |
1999 |
Aspen |
Are You that Retail Snob? |
Involve |
CD |
2000 |
Aspen |
Music from Passing Cars |
Involve |
CD |
2001 |
Asphalt
Ribbons, the |
Collected Works |
|
CD-R |
|
Asteroid
#4, the |
What a Sorry Way to Go /
Sometimes I Roll My Eyes |
Lounge |
7 |
|
Astley,
Virginia |
From Gardens Where We Feel
Secure (+ Sanctus/Melt the Snow) |
Happy Valley |
CD |
1983 |
Astley,
Virginia |
Promise Nothing |
Les Disques du Crepuscule |
LP |
1983 |
Astley,
Virginia |
Hope in a Darkened Heart |
Geffen JP |
CD |
1986 |
Astley,
Virginia |
All Shall Be Well |
Nippon Columbia |
CD |
1992 |
Astley,
Virginia |
Had I the Heavens |
Rosebud Music |
CD |
1993 |
Astrobotnia |
Part 01 |
Rephlex |
CD |
|
Astrobrite |
Overdriver / Slopoke |
Highback |
7 |
|
Astrotwin
/ Cosmos |
Astrotwin / Cosmos |
F.M.N. Sound Factory |
2CD |
|
Astrud |
Astrud EP |
Sealed Fate |
CD |
|
Async
Sense |
Async Sense |
Imbalance Computer Music |
CD |
|
atalatl |
All You Fuckers Without Radar |
Cloaca |
CD |
|
Atari
Teenage Riot |
Delete Yourself! |
DHR |
CD |
1995 |
Atari
Teenage Riot |
Riot 1999 |
DHR/Grand Royale |
7 |
1997 |
Atari
Teenage Riot / Asian Dub Foundation |
Paranoid / Free Satpal Ram |
Damaged Goods |
7 |
1996 |
Atau
(Tanaka) |
Biorhythms |
Caipirinha |
CD |
2000.
Sensorband founder Atau Tanaka's diverse solo set is unified by a stream of
processed-data noise that suggests both city traffic and cardiovascular flow
as it courses through the album, variably spun into infinite strands of
ethereal synth-flux, woven through cyber-safari electro, and reduced to the
minimal volume of a cricket's quiet chirr. Tanaka also introduces
techno-styled patterns of bass, drum programming and even a dollop of melody,
building up to beats that pound in imitation of Latin polyrhythms and the
scything loops of house music. . |
Ataxia |
Ataxia |
Baraka |
CD |
|
Atlon
Inc. |
Main Things |
Force Inc |
CD |
2001 |
Atman |
Soundreams |
Obuh |
CD |
1998 |
Atman |
Personal Forest |
Drunken Fish |
CD |
1999 |
Atman |
The End of Philosophy EP |
Drunken Fish |
7 |
1999 |
Atman |
Tradition |
Drunken Fish |
CD |
2000. Hailing
from the hidden glades and glens of Poland’s forests, the Atman collective
treats music as a ritual for the channeling of natural energies. Their
psychedelic-folk devotions, at once ageless and eternal, are rooted in the
very drone of the forest primeval. Atman taps into the woodlands’ psychic
reservoir, spinning ethnic string and percussive instrumental improvisations
around the hum of life. “Natural Landscapes” and the stunning “The Theatre Of
Mist,” the latter presented in both live and studio versions, call forth the
spirits of the woods and the ghosts of history in a spectral cotillion of
sun-split dust dervishes and restless winds. “The Talking Meadow” and the
dulcimer-dappled “Free-P” are astir with life’s electric charge and abuzz
with nature’s chaotic presence—much like the dense, green canopy of the
forest itself. Vocalist Anna Nacher’s words come in euphoric tongues. She is
alternately an elemental—delirious as Diana returning from the hunt, bloodied
and aroused—and Baba Yaga’s bewitched familiar, a wild-eyed Carpathian
seductress with leaves in her hair and powerful magic in her veins. So potent
is Atman’s sorcery that not even an odd cover—Jimi Hendrix’s “Third Stone
From The Sun,” suitably mystical and expansive in its psychedelic scope—can
break the group’s timeless spell. |
ATOI |
Y2KAOS |
Visible |
2CD |
1999 |
Atom
Heart |
Live at Sel i/s/c |
Fax |
CD |
1994 |
Atom
Heart |
Apart EP |
Recent Programmings |
CD5 |
1996 |
Atom
Heart |
Shellglove |
Recent Programmings |
CD |
1996 |
Atomsmasher |
Atomsmasher |
Double H Noise Industries |
CD |
|
Aube |
Metal de Metal |
Manifold |
CD |
1996 |
Aube |
Starred Gleam |
Iris Light |
CD |
1996 |
Aube |
Aqua Syndrome |
Manifold |
CD |
1997 |
Aube |
Flush |
Iris Light |
CD |
1998 |
Aube |
Mort aux Vaches: Still
Contemplation |
Staalplaat |
CD |
1998 |
Aube |
Pages from the Book |
Elsie & Jack |
CD |
1998 |
Aube |
Substructural Penetration
1991-1995 |
Iris Light |
2CD |
1998 |
Aube |
Evocation |
Auf Abwegen |
CD |
1999 |
Aube |
Ricochetentrance |
Arya |
CD |
1999. Water is
the sound source for this well-woven tapestry of wet and sopping
sounds.Echoed drips, trickles and splashes simulate gamelan, evoke harrowing
journeys into the dark, dank heart of ancient caverns, and invoke the spirits
of seas and of kitchen-counter coffeemakers. Ricochetentrance is among Nakajima’s more moderate and meditative Aubeworks, but
a full bladder could greatly impair one's appreciation of this very
suggestive set. |
Aube |
Flare |
Iris Light |
CD |
|
Aube |
Rewriting the Book |
Elsie & Jack |
2CD |
|
Aubrey |
Unscrambled Memories |
Textures |
CD |
2001 |
Auburn
Lull |
Alone I Admire |
Burnt Hair |
CD |
1999 |
Auburn
Lull / Mahogany |
Dual-Group EP |
Burnt Hair |
12 |
1998 |
Auch |
Kiss Tomorrow Goodbye |
Force Inc |
CD |
2000 |
Auch |
Remix Tomorrow Goodbye |
Force Inc |
CD |
2001 |
Audio
Active |
Happy Happer |
On-U Sound |
CD |
1997 |
Audio
Active |
Apollo Choco |
On-U Sound |
CD |
1999 |
Audio
Sports |
Era of Glittering Gas |
All Access |
CD |
|
Aufgehoben
no Process vs Gary Smith |
Magnetic Mountain |
Junior Meat |
CD |
2000.
Free-jazzist Smith wrestles his electric guitar in the company of UK
noise-rockers AnP. A balls-out session of cyclone-force feedback, rotary-saw
riffage, and Ruin-ous avalanches of bass and drums, recorded as "in the
red" as any Mainliner or High Rise album. AnP desperately want to be
mistaken for Japanese, and here they come close to pulling it off. Well,
almost. Some of the latent prog moves (and sterile, stuttering DSP-damaged
loops) earmark all parties as full-blooded Brits. Fushitsusha they're not. |
Augur |
Ephemera |
Rectrix |
CD-R |
|
Augur |
Like Little Machines |
Rectrix |
CD-R |
|
Augur vs
Birds of Tin |
Strange Seeds Come from Strange
Flowers |
Manifold |
CD |
|
Auinger,
Sam & Rupert Huber |
Flugstunden / Applaus |
Kunstradio |
CD |
|
Aura
Anthropica (Hans Platzgumer) |
American Blindfold |
Music Cartel |
CD |
|
Aural
Expansion |
Surreal Sheep |
SSR |
CD |
1995 |
Aural
Expansion |
Remixed Sheep |
SSR |
CD |
1996 |
Aural
Float |
Freefloat |
Elektrolux |
CD |
|
Aural
Screenshots |
The Media Pump |
PDCD |
CD |
|
Autechre |
Basscadetmxs |
Warp |
3x10 |
1993 |
Autechre |
Incunabula |
Warp/TVT |
CD |
1993 |
Autechre |
Keynell EP |
Warp |
12 |
1996 |
Autechre |
Chiastic Slide |
Warp |
CD |
1997 |
Autechre |
Cichli Suite |
Warp |
CD* |
1997 |
Autechre |
LP5 |
Warp |
CD |
1998 |
Autechre |
Confield |
Warp |
CD |
2001 |
Autechre |
Amber |
Warp/TVT |
CD |
1994. The
facelessness of electronic music can be disconcerting. It often seems as
though the musicians are hiding behind their banks of synthesizers, samplers,
and sequencers. Autechre is a modern day Cyrano de Bergerac story. Sean Booth
and Rob Brown have such beautiful thoughts to impart, yet they can only
express these lyrical notions when they are speaking through their machines.
The arrangement works well. The binary prattle of programmed rhythms and
sequenced sound gives Booth and Brown a distinct voice, while Autechre's
emotive melodies invest cold mechanical chatter with a soul. Amber, Autechre's second and subtlest
album, is a textural weave of feelings and frequencies. The arching, aching
synth phrasing of "Silverside," "Yulquen" and
"Nine" expresses yearning so eloquently that you begin to hear
human voices in the warp and weft. "Slip" and "Further"
articulate unbridled euphoria in the silvery tongue of techno. Autechre's
latent electro and hiphop traits manifest in such playfully funky expressions
as "Nil," "Piezo," "Teartear" and
"Montreal." For all the thorny rhythmic mathematics, Amber is surprisingly sweet and
embraceable. Love songs for androids? |
Autechre |
Peel Sessions EP |
Nothing |
CD5 |
1995. With
perhaps the highest profile of all artists currently tilling the soil of
experimental techno, Rob Brown and Sean Booth can't sneeze without provoking
collectors' interest. These three tracks, recorded during a 1995 session with
BBC Radio DJ John Peel, had been bartered, stolen, MP3-ed, and sold rampantly
before Autechre's label relented and released them officially. As a wry
acknowledgement of the session's eventful—if illegal—afterlife, the EP's
minimal artwork resembles that of a CD-R. Why the fuss? When these Sessions were recorded, Autechre was
already a cornerstone of the 1993-1994 "Artificial Intelligence"
school of armchair-listening techno. Peel Sessions reveals imminent shifts in Autechre's musical direction and
marks a critical point in the duo's fascinating evolution. "Milk
DX" retains Autechre's signatures—ghostly melodies and chattering
rhythms—but the programming witnesses a new degree of complexity. It's as
though beats have been overwritten—repeatedly typed, partially erased, and
retyped—foreshadowing the intricate metalwork of 1996's Tri Repetae. Autechre's music was always
a strange derivative/corruption of electro, and "Inhake 2" points
explicitly towards the pronounced quasi-hiphop inclination of 1997's Envane and Chiastic
Slide. Likewise, the layered, cyclical textures of
"Drone" prefigure later albums' ambitious structural
decompositions. |
Autechre |
Tri Repetae++ |
Warp/TVT |
2CD |
1997. With Tri Repetae, Sean Booth and Rob Brown's
music undergoes a quantum evolutionary leap from the relatively muted modular
mathematics of Incunabula and
Amber into a tortuous,
insectoid cybernetic funk. Menacing robotic mandibles and steel-plated wings
now render the electro tics and hiphop scratches, as though Booth and Brown
have decided to work exclusively in the medium of rusty Erector-kit
mechanics. For many Ae-heads, this third album and the EPs that preceded it (Garbage and Anvil Vapre) represent
Autechre's pinnacle achievements. Tri Repetae++ combines all three desirable items in one generous double-disc
package. Such album tracks as "Clipper," "Rotar,"
"Leterel" and "Gnit" are like oversized cricket
automatons—hulking scrap-heap assemblages of melody and shearing wrought-iron
armature too ungainly and unstable to do more than flex a leg joint or twitch
an antenna. In comparison, Anvil Vapre's "Second Bad Vilbel" and "Second Scout" are
models of lethal anatomical efficiency. These are hydraulic super-ants, built
for speed, purpose, and determination using the scant workshop remains of
nosebleed-techno tracks and dismantled monster trucks. The melodically
exquisite Garbage dovetails
neatly with the album's less flattening moments ("Dael,"
"Eutow," "C/pach," "Overand,"
"Rsdio"), the circuit-board tweakings mimicking dub
("Piobmx19") or disclosing the human ghosts in Autechre's machine. |
Autechre |
EP7 |
Warp |
CD |
1999. Autechre’s
evolution continues unabated with EP7. The hefty hour-long disc both advances
and complements 1998’s excellent LP5 album. Sean Booth and Rob Brown stick with the successful
formula of Chiastic Slide
and LP5, probing the
darkest reaches of digital signal processing. EP7 features some of Autechre’s most sophisticated work, but its
experimental edges never compromise the listening pleasure of these eleven
tracks. Splintery tones are tweaked and distorted; exquisitely glitch-addled
rhythms form convoluted clusters or dissolve into configurations that
threaten disarray; crumbs of speech are digitized and scattered across the
soupy shallows of “Ccec” like misshapen croutons; beautiful melodies emerge
from the Brownian motion of beats and buzzes. Sounds scamper, fuss and fidget
without finding respite from their disconcerted states. The electromagnetic
pulsations of “Output” draw floating plates of microprocessed sound into a
Pangaea-like mass. Elegant melodic arabesques are coaxed from the creak and
whine of unoiled mechanics (“Zeiss Contarex”) or from switch-throwing caprice
(“Pir”). EP7 finds Autechre pushing the e-music envelope as gently—but
insistently—as ever. |
Autism |
((vibro)) |
Segment |
CD |
|
Autocreation |
Gruff/Sauce |
Template |
12 |
1995 |
Autocreation |
Caught Short EP |
Op ART |
12 |
1996 |
Autocreation |
Meddle |
Inter-Modo |
CD |
1996 |
Autopoieses |
Live a Noir |
Ritornell |
CD |
2000 |
Autorepeat |
The Unbearable Lightness of
Autorepeating |
SSR |
CD |
1999 |
Autour
de Lucie |
Chanson Sans Issue Remixé |
Nettwerk |
CD |
1997 |
Autour
de Lucie |
Immobile |
Nettwerk |
CD |
1998 |
Avalanches,
the |
Since You Left |
Arista |
CD |
2000 |
Avarus |
AVP (live) |
Lattajja |
CD-R |
|
Avarus |
III |
HP Cycle |
LP |
|
Avey
Tare & Panda Bear |
Spirit They're Gone, Spirit
They've Vanished |
Animal |
CD |
2000 |
Avey
Tare & Panda Bear & Geologist |
Danse Manatee |
Catsup Plate |
CD |
2001 |
Axelrod,
David |
Requiem |
Liberty |
CD |
1993 |
Axelrod,
David |
David Axelrod |
Mo'Wax |
CD |
2001 |
Ayers,
Kevin |
Joy of a Toy |
BGO |
CD |
1969 |
Ayers,
Kevin |
Whatevershebringswesing |
BGO |
CD |
1971 |
Ayers,
Kevin |
The Confessions of Dr. Dream |
BGO |
CD |
1974 |
Ayers,
Kevin |
Odd Ditties |
|
CD-R |
1976 |
Ayers,
Kevin (and The Whole World) |
Shooting at the Moon |
BGO |
CD |
1970 |
Ayers/Harris/Everall |
Mesmeric Enabling Device |
Soleilmoon |
CD |
|
Ayler,
Albert |
Spiritual Unity |
ESP / Get Back |
CD |
1964 (2000) |
Ayler,
Albert |
Bells / Prophecy |
ESP / ZYX |
CD |
1965 (1998) |
Aztec
Camera |
High Land, Hard Rain |
Sire |
CD |
1983 |
Aztec
Camera |
Stray |
Reprise |
LP |
1990 |
Aztec
Mystic, the |
The Shining Path EP |
Underground Resistance |
12 |
|
Azusa
Plane, the |
1: Fall / Meander |
Doorstep Vinyl |
7 |
1995 |
Azusa
Plane, the |
America is Dreaming of Universal
String Theory |
Colorful Clouds for Acoustics |
2CD |
1998 |
Azusa
Plane, the |
The Highway’s Jammed with Broken
Hearts |
(K-RAA-K)3 |
CD |
2001 |
Azusa
Plane, the |
Tycho Magnetic Anomaly and the
Full Consciousness of Hidden Harmony |
Camera Obscura |
CD |
1997. One Fender
guitar, an eight-track tape recorder and a healthy ration of reverb and other
effects pedals birth entire worlds of sound in the hands of Philadelphia’s
Jason DiEmilio. The Azusa Plane (the name comes from Akira Kurosawa) was
originally a self-limiting vehicle for a series of ten collectible seven-inch
singles. With his first album-length portion of Plane-age, DiEmilio spreads
his wings, reveling in the possibilities afforded by unlimited space. Tycho's four tracks are split between
wonder-works of imbricated, delay-soaked echoes and liquid melodic glimmers
(“Temporal Continuum,” “The Miracle of the Octave”) and monolithic glacial
floes of cavernous drone (“Implications of Holomovement”). DiEmilio’s radiant
fabric is woven with threads borrowed from the romantic/pastoral school of
six-string poetry (Vini Reilly, Roy Montgomery, Stars of the Lid, Flying
Saucer Attack) as well as from the noisier likes of Skullflower, Total, Our
glassie Azoth and Maeror Tri. Tycho also reflects the massed-guitar orchestrations of Rhys Chatham
and Glenn Branca, direct inspirations for the 28 minutes of mirrored oceanic
splendor and celestial melismata that close the disc (“Armonia Aphanes
Phaneros Kreisson”). On both scales, intimate and infinite, DiEmilio perfects
the sonic smoke-and-mirrors trickery of The Azusa Plane, imprinting mirages
and illusions upon seemingly amorphous tone-drift. |
Azusa
Plane, the |
Cheltenham |
Ochre |
10 |
|
Azusa
Plane, the |
Jacques Offenbach's Opera
Efforts |
Amish |
LP |
|
Azusa
Plane, the |
Lou, Nico, John, Sterling &
Maureen |
Blackbean & Placenta |
LP |
|
Azusa
Plane, the / Füxa |
2: Beyond Infinite / Opelwerks |
Doorstep Vinyl |
7 |
|
Azusa
Plane, the / Grimble Grumble |
A Minimalist Plot to Destroy
Modern Rockism / Second Mind |
Enraptured |
7 |
|
Azusa
Plane, the / Juicy Eureka |
Calvin Johnson Has Saved Rock
for an Entire Generation / Air - Bedlam |
Lissy's |
7 |
|
Azusa
Plane, the / Lab Rat |
Instress vol. 5: Hal / Que por
Bien no Venga |
Road Cone |
7 |
|
Azusa
Plane, the / Loren MazzaCane-Connors |
3: Every Wave Has its Own
Integrity / Spirit |
Doorstep Vinyl |
7 |
|
Azusa
Plane, the / Octal |
Song for Claudia Cardinale /
I've Fallen |
Earworm/Worm23 |
7 |
|
Azusa
Plane, the / Roy Montgomery |
She was Into S&M… / Cumulus
& Fugue |
Colorful Clouds for Acoustics |
7 |
|
|
|
|
|
|