The Echo Chamber. The Estelle Show. Band Van Radio with Old Dominion. The Ebro Show. Color Me Country. My 3 Minutes Radio with Carly Pearce. Weekend Anthems See All. Indie Anthems Apple Music Indie. Music by Mood. As house began to flourish during the early 90s, with many producers focusing on jacking rhythms that took over clubland, the NYC duo Masters At Work were able to stand out by showcasing a distinct contrast of musicality.
They took the rhythmic motifs and made them their own with both a deeply soulful and lively essence in their material. Their vast knowledge was channeled into this diverse range of tracks, which included their own take on hip hop, reggae and of course a core foundation of house.
Harrison Williams. It was a statement album and plenty listened and learned. It sounds implausible now, but for the first few years of the 90s, trance was a niche genre, mainly for the real space cadets. After this would come Robert Miles, the conquering of LP, megastar DJs, helicopters and egos, but right here is the point of ignition, the moment the explosion began. And you know what?
It still sounds great. Dego and Marc Mac were there for every development in rave. In their LP Kirk's Nightmare' marked the shift from summers of love into hardcore, and month by month 4 Hero, Dego's Tek 9 and Mac's Manix pseudonym, and their Reinforced label expressed the extremes of darkness and euphoria as the breaks sped up and things got ever gnarlier.
Then, injust as jungle was fully coalescing from the madness, they dropped 'Parallel Universe'which combined every influence, every emotional mode of rave, and more into a glorious, chaotic, cosmic exploration. Soul, Detroit techno, electronica, spiritual jazz, and sampling technology pushed way beyond its capabilities all orbited their singular vision creating something that — though moments can sound very much of their time thanks to that sampler abuse — still stands up as one of the most ambitious dance records ever made.
They knew that techno was as much about subtlety as rowdy impact and, fuelled by an obsession with the most far-out ad hoc techniques of Jamaica's dub originators, they set about remaking the machine beats as an immersive bath of sound. Layer upon layer of echo and tape hiss, microscopic surface details made dramatic, and vast waves of bass: it sounded both completely alien and like it had always been there.
And it changed everything. LP fact, so ubiquitous is their sound pallet now that if you heard this for the first time it could be hard to believe it's a quarter century old. Techno around the early 90s was in its most fertile, formative and revolutionary phase. It was a sound that acted as a militant rebellion in a heated Detroit, one that was brimming with racial tension and social injustice.
Another, albeit later, member of Underground Resistance, Hood soon became the master of stripped back, minimal techno. The sound of printers malfunctioning and computers melting might be a nightmare in real life situations but IDM producers such as Autechre turn the stuttering sound of a machine glitching into abstract musical beauty.
Its distinctly metallic sound palette was eerie, robotic and weirdly melodic. No doubt it was ahead of its time when it was released, with the crunching abstract percussion and flashing lasers being a more pervasive influence on experimental music now through labels like UIQ. This darker, more menacing side of IDM and electro had a different appeal to some of the more emotionally driven records at the time.
It has undoubtedly come to inform a lot of the colder and crunchier sides of club music, abstract grime and techno that has been released in the past few years. Jungle — proper full-bore, thousand-break-edits-a-minute, police-sirens-and-barking-pitbulls, murderous-ragga-sampling jungle — was never destined to be an album artform. It just moved too fast in every sense. Forged properly inby the end of it was all but dissipated as a dozen new drum 'n' bass forms took over.
Mostly it exists now via endless brilliantly shonky compilations, and MC-slathered mixtapes capturing the madness of radio and raves. Somehow, though, Andre Williams aka Shy FXthough still not even legally allowed into clubs as he slipped in under the wire in September of '95, managed the impossible and condensed all that junglist energy into a full-length album. He'd already created scene defining anthems with 'Gangsta Kid' and 'Original Nuttah' both included herebut showing a furious focus, he managed to build an album that not only maintained the momentum but held together in its own right.
All of bass music since — from the crazed breakcore cut-ups of Venetian Snares and co through the bassweight of DMZ to new generationz of London teenagers — owes Shy FX a debt of gratitude, but more than that, he's still applying the same focus to the scene to this day.
For every action there is a reaction, and in the mid-to-late 90s house scene it was Moodymann. While Larry Heard was the stately father figure of deep houseMoodymann announced himself as its twisted uncle who would let you smoke a joint in his lounge before handpicking records for you to listen to. Only an enigma like Moodymann could have that impact on entire generations of musicians. Before the Grammys.
Before The Pyramid. Before the robot masks. Off the back of two tracks, 'The New Wave' which would later evolve in 'Alive' and 'Da Funk'the pair were signed to Virgin, through which they released 'Homework' named because it was recorded in Thomas' bedroom. On the face of it, it was a nod to the dance music world that had come before them but it would go on to write dance music's future. Producers at the time were convinced it had to have been created using some newfangled recording software, only to discover it was spliced together using an old Roland TR and snippets of Elton John and Barry Manilow records.
Younger fans may prefer the more polished and accessible sound of 's Discovery. Nick Stevenson. And their second album was the one that set them on the path to becoming a globe-conquering festival behemoth. By calling in vocalists like Noel Gallagher, and playing concert venues like Brixton Academy to support the album as opposed to DJing in clubs, The Chems were able to appeal to an audience more used to gig-going and guitar music as much as they were able to appeal to the dance music faithful.
Some might accuse them of pandering to traditionalists by positioning themselves in the rock world as much as the dance music world, but every act that makes the switch from club DJing to being a touring live act Bicep and Dusky are two recent examples owe a debt to The Chems and this album. If a pub quiz threw up a question about a game-changing drum 'n' bass or jungle album in the '90s, chances are it'd be Goldie's 'Timeless' scrawled on the result papers, rather than Photek's debut album.
It came three years into Photek's career, in which he'd carved a reputation for producing apocalyptic tracks like 'The Seven Samurai' or hyper-percussive classics like 'Consciousness'. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that.
I studied all that, I studied Stockhausen but nobody talked about rock music like Sly StoneJames Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new.
It was, in a way, much newer than the new classical music which claimed to be 'the new music'. Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. In fact, both Schmidt and Czukay had directly studied under the influential composer Karlheinz Stockhausen.
The group was soon fleshed out by guitarist Michael Karolia year-old pupil of Czukay, and drummer Jaki LiebezeitTight Brain - Dig - Dig (Vinyl had grown disenchanted with his work in free jazz groups. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of Liebezeit later suggested the back-formation acronym " CommunismAnarchismNihilism " for the band's name, after an English music magazine claimed this was the intended meaning.
Around September the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooneya New York-based sculptor, with whom it recorded the material for an album, Prepared to Meet Thy Pnoom. Unable to find a recording company willing to release the album, the group continued its studio work until it had material for what became its first release, Monster Movie Other material recorded around the same time was released in as Delay Mooney's ranting vocals emphasized the music's sheer strangeness and hypnotic quality, which was influenced particularly by garage rockpsychedelic rock and funk.
Repetition was stressed on bass and drums, particularly on the track " Yoo Doo Right ", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music. Mooney made his last recordings with Can in December  before returning to America around the end of the year on a psychiatrist's advice, having been told that getting away from Can's chaotic music would be good for his mental health.
Though he knew only a handful of guitar chords and improvised most of his lyrics as opposed to committing them to paperhe was asked to perform with the band that night. The band's first record with Suzuki was Soundtracksa compilation of music made for films that also contained two earlier tracks recorded with Mooney.
The next few years saw Can release its most acclaimed works. While its earlier recordings tended to be at least loosely based on traditional song structures, on its mid-career albums the band reverted to an extremely fluid improvisational style.
The double album Tago Mago is often seen as groundbreaking, influential and deeply unconventional, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing frequently intertwiningtape edits as composition, and Suzuki's idiosyncratic vocalisms.
Czukay said it "was an attempt in achieving a mystery musical world from light to darkness and return. In the band composed the music for the three-part German-language television crime miniseries Das Messer "The Knife"directed by Rolf von Sydow. Tago Mago was followed in by Ege Bamyasia more accessible but still avant-garde record which featured "Spoon" and the catchy " Vitamin C ".
Czukay said, "We could achieve an excellent dry and ambient sound It was followed by Future Days inan early example of ambient music that also includes the pop song " Moonshake ". Czukay said, "'Bel Air' [the minute track that takes up all of side two on the original Future Days LP] showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting.
The song that defined an era makes most statements about it seem trite. Those echoing opening chords became as familiar to the MTV generation as Pogs and Hypercolor—with a tad more shelf life. The widespread success of the Village People may be the most dramatic example of how gay culture went mainstream in the disco era. Dolled up in costumes that camped on masculine archetypes, the quintet sang paeans to sailors, cops and macho men in lyrics carefully crafted to pass.
If only school were this much fun. Akin to Poindexter and Booger throwing a better shindig than the jocks in Revenge of the NerdsDevo whipped out a full, hot party on this classic synth blast from Take that, Ogre and Stan. Leave it to Abdul—a well-known choreographer before she began her singing career—to know what makes a perfect dance-party tune. Pulsating beat, check; funky bassline, check; earworm chorus, check and check.
Oh, oh, oh! The band described itself as Chic meets the Sex Pistols, but its bouncy sound was all its own: skittering drum beats, aqua-blue synth burbles and a galloping bassline courtesy of king pinup John Taylor.
The Long Island native born Leslie Wunderman sounds positively voracious on her signature hit. All together, now: murderer!
Every British invasion arrives with an opening salvo. But never mind all that. Growing up, what was important about this song was what you did when you heard it. Pusha T rejecting this massive Hitboy-produced beat might have been for the best according to him it sounds like a video game because the star power from the respective husbands of Kim and Bey turned the guaranteed banger into a veritable club anthem.
And it's become a necessary party bonding activity, too: trashed guests inevitably screaming "that shit cray! The members of One Direction may still have been fighting through their teen years when this track was released, but they sure knew how to get people dancing. Step aside, Aaron Carter; this banger signaled a new generation of boy bands, bigger and better than ever.
We want prenup! Arm me with harmony. What's a hot girl summer? Regardless of the season, it's about doing your thing and not caring what other people think. Megan Thee Stallion and her summer anthem, embody that ideal.
She brings the heat, and this song will make you want to just have a good time and not give a damn. Put on this track and everyone is the life of the party. Even after its short-lived heyday, TNGHT remains one of electronic music's most potent recent matchups.
Bass luminary Lunice's club-rattling beats make a viciously ferocious pairing with the recklessly maximalist synth-frenzy of Kanye-affiliated producer Hudson Mohawke. The single which launched them to trap-mainstay-status consists of just a few elements a looping vocal sample, seismic drums, and a stomping horn riff but together they can make a party sound undoubtedly enormous.
No one can be held responsible for what transpires in the four minutes after the opening string melody of Sisqo's breakout single "Thong Song. For a song about underwear that contains the lyrics "She had dumps like a truck" that's pretty impressive.
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