Minimal techno is a minimalist subgenre of techno music. It is characterized by a stripped-down aesthetics that exploits the use of repetition and understated development. Minimal techno is thought to have been developed in the early 1990s by Detroit-based producers Robert Hood and Daniel Bell. By the early 2000s the term'minimal' described a style of techno, popularised in Germany by labels such as Kompakt and Richie Hawtin's M-nus, among others. Minimal techno first emerged in the early 1990s; the development of the style is attributed to a so-called "second wave" of American producers associated with Detroit techno. According to Derrick May, "while the first-wave artists were enjoying their early global success, techno inspired many up-and-coming DJs and bedroom producers in Detroit"; this younger generation included producers such as Richie Hawtin, Daniel Bell, Robert Hood, Jeff Mills, Carl Craig, Kenny Larkin, Mike Banks. The work of several of these artists evolved to become focused on minimalism.
Robert Hood describes the situation in the early 1990s as one where techno had become too "ravey", with increasing tempos leading to the emergence of gabber. Such trends saw the demise of the soul-infused techno. Robert Hood has noted that he and Daniel Bell both realized something was missing from techno in the post-rave era, saw that an important feature of the original techno sound had been lost. Hood states that "it sounded great from a production standpoint, but there was a'jack' element in the structure. People would complain that there's no funk, no feeling in techno anymore, the easy escape is to put a vocalist and some piano on top to fill the emotional gap. I thought it was time for a return to the original underground."The minimal techno sound that emerged at this time has been defined by Robert Hood as "a basic stripped down, raw sound. Just drums and funky grooves and only what's essential. Only what is essential to make people move. I started to look at it as a science, the art of making people move their butts, speaking to their heart and soul.
It's a heart-felt rhythmic techno sound." Daniel Bell has commented that he had a dislike for minimalism in the artistic sense of the word, finding it too "arty". In Audio Culture: Readings in Modern Music, music journalist Philip Sherburne states that, like most contemporary electronic dance music, minimal techno has its roots in the landmark works of pioneers such as Kraftwerk and Detroit Techno's Derrick May and Juan Atkins. Minimal techno focuses on "rhythm and repetition instead of melody and linear progression", much like classical minimalist music and the polyrhythmic African musical tradition that helped to inspire it. By 1994, according to Sherburne, the term "minimal" was in use to describe "any stripped-down, Acidic derivative of classic Detroit style". Los Angeles-based writer Daniel Chamberlin attributes the origin of minimal techno to the German producers Basic Channel. Chamberlin draws parallels between the compositional techniques used by producers such as Richie Hawtin, Wolfgang Voigt, Surgeon and that of American minimalist composer Steve Reich, in particular the pattern-phasing system which Reich employs in many of his works, the earliest being "Come Out".
Chamberlin sees the use of sine tone drones by minimalist composer La Monte Young and the repetitive patterns of "In C" by minimalist composer Terry Riley as other influences. Sherburne has suggested that the noted similarities between minimal forms of dance music and American minimalism could be accidental, he notes that much of the music technology used in electronic dance music was traditionally designed to suit loop-based compositional methods, which may explain why certain stylistic features of minimal techno sound similar to those in works by Reich that employ loops and pattern-phasing techniques. Philip Sherburne proposes that minimal techno uses two specific stylistic approaches: skeletalism and massification. According to Sherburne, in skeletal minimal techno, only the core elements are included with embellishments used only for the sake of variation within the song. In contrast, massification is a style of minimalism in which many sounds are layered over time, but with little variation in sonic elements.
Today the influence of minimal styles of house music and techno is not only to be found in club music, but is becoming heard in popular music. Regardless of the style, he writes, "minimal Techno corkscrews into the heart of repetition so cerebrally as to inspire descriptions like'spartan','clinical','mathematical', and'scientific.'"The average tempo of a minimal techno track is between 125 and 130 beats per minute. Richie Hawtin suggests 128 bpm as the perfect tempo. In the early minimal techno scene, most tracks were constructed around a Roland TR-808 or Roland TR-909 drum machine. Both are still used on today's minimal techno tracks. In contrast to minimal house, minimal techno is less afrocentric and focuses more on middle frequencies rather than deep basses. Many projects in other locations, such as those of Regis in the UK, Basic Channel in Berlin and Mika Vainio in Finland, have made significant contributions to minimal techno. In recent years, the genre has been influenced by the microhouse genre, to the point of merging with it.
It has fragmented into a great number of difficult to categorize subgenres claimed by the minimal techno and microhouse tags. Minimal techno has found mainstream club popularity since 2004 in such places as Germany, Japan, Belgium, South Africa, The Netherlands, Sri Lanka, Italy and the UK, with DJs from a wide variety of genres incorporating differing elements of its tone
Closer (Plastikman album)
Closer is the sixth studio album by Canadian electronic music producer Richie Hawtin, his fifth under the stage name Plastikman. It was released in 2003, it peaked at number 41 on the UK Independent Albums Chart. All tracks written by Richie Hawtin. Credits adapted from liner notes. Richie Hawtin – music Closer at Discogs
The Rolling Stone Album Guide
The Rolling Stone Album Guide known as The Rolling Stone Record Guide, is a book that contains professional music reviews written and edited by staff members from Rolling Stone magazine. Its first edition was published in 1979 and its last in 2004; the guide can be seen at Rate Your Music, while a list of albums given a five star rating by the guide can be seen at Rocklist.net. The Rolling Stone Record Guide was the first edition of what would become The Rolling Stone Album Guide, it was edited by Dave Marsh and John Swenson, included contributions from 34 other music critics. It is divided into sections by musical genre and lists artists alphabetically within their respective genres. Albums are listed alphabetically by artist although some of the artists have their careers divided into chronological periods. Dave Marsh, in his Introduction, cites as precedents Leonard Maltin's book TV Movies and Robert Christgau's review column in the Village Voice, he gives Tape Guide as raw sources of information.
The first edition included black and white photographs of many of the covers of albums which received five star reviews. These titles are listed together in the Five-Star Records section, coincidentally five pages in length; the edition included reviews for many comedy artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones, Richard Pryor. Comedy artists were listed in the catch-all section "Rock, Soul and Pop", which included the genres of folk, bluegrass and reggae, as well as comedy. Traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some difficult-to-classify artists. Big band jazz was handled selectively, with certain band leaders omitted, while others were included. Many other styles of jazz did appear in the Jazz section; the book was notable for the time in the provocative, "in your face" style of many of its reviews. For example, writing about Neil Young's song, "Down by the River", John Swenson described it both as an "FM radio classic", as a "wimp anthem".
His colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review: "Flee.". Introduction Rock, Soul and Pop Blues Jazz Gospel Anthologies and Original Casts Five-Star Records Glossary Selected Bibliography The guide employs a five star rating scale with the following descriptions of those ratings: Indispensable: a record that must be included in any comprehensive collection Excellent: a record of substantial merit, though flawed in some essential way. Good: a record of average worth, but one that might possess considerable appeal for fans of a particular style. Mediocre: a record, artistically insubstantial, though not wretched. Poor: a record where technical competence is at question or it was remarkably ill-conceived. Worthless: a record that need never have been created. Reserved for the most bathetic bathwater; the New Rolling Stone Record Guide was an update of 1979's The Rolling Stone Record Guide. Like the first edition, it was edited by Swenson.
It included contributions from 52 music critics and featured chronological album listings under the name of each artist. In many cases, updates from the first edition consist of short, one-sentence verdicts upon an artist's work. Instead of having separate sections such as Blues and Gospel, this edition compressed all of the genres it reviewed into one section except for Jazz titles which were removed for this edition and were expanded and published in 1985 Rolling Stone Jazz Record Guide. Besides adding reviews for many emerging punk and New Wave bands, this edition added or expanded a significant number of reviews of long-established reggae and ska artists. Since the goal of this guide was to review records that were in print at the time of publication, this edition featured a list of artists who were included in the first edition but were not included in the second edition because all of their material was out of print; this edition dispensed with the album cover photos found in the first edition.
Introduction to the Second Edition Introduction to the First Edition Ratings Reviewers Record Label Abbreviations Rock, Blues, Country and Pop Anthologies and Original Cast Index to Artists in the First Edition The second edition uses the same rating system as the first edition. The only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title, out of print at the time the guide was published; some artists had the ratings for their albums lowered as the book now offered a revisionist slant to rock's history. The Rolling Stone Jazz Record Guide was published in 1985 and incorporated the jazz listings omitted from The New Rolling S
New Musical Express is a British music journalism website and former magazine, published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976, it was associated with gonzo journalism became associated with punk rock through the writings of Julie Burchill, Paul Morley and Tony Parsons, it started as a music newspaper, moved toward a magazine format during the 1980s and 1990s, changing from newsprint in 1998. An online version, NME.com, was launched in 1996. It became the world's biggest standalone music site, with over sixteen million users per month. With newsstand sales falling across the UK magazine sector, the magazine's paid circulation in the first half of 2014 was 15,830. In 2013, the list of NME's The 500 Greatest Albums of All Time and the way it was conceived was criticized by the media; the printed magazine NME was relaunched in September 2015 to be distributed nationally as a free publication.
The first average circulation published in February 2016 of 307,217 copies per week was the highest in the brand's history, beating the previous best of 306,881, recorded in 1964 at the height of the Beatles' fame. By December 2017, according to the Audit Bureau of Circulations, average distribution of NME had fallen to 289,432 copies a week, although its publisher Time Inc. UK claimed to have more than 13m global unique users per month, including 3m in the UK. In March 2018, the publisher announced that the print edition of NME would cease publication after 66 years, leaving it as an online-only title. NME's headquarters are in Southwark, England; the brand's current editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February 2018. The paper was established in 1952; the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be closed. It was relaunched as the New Musical Express, was published in a non-glossy tabloid format on standard newsprint.
On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, a list of the Top Twelve best-selling singles. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK; the first number one was "Here in My Heart" by Al Martino. During the 1960s the paper championed the new British groups emerging at the time; the NME circulation peaked under Andy Gray with a figure of 306,881 for the period from January to June 1964. The Beatles and the Rolling Stones were featured on the front cover; these and other artists appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert featured a ceremony where the poll winners would collect their awards; the NME Poll Winners' Concerts took place between 1959 and 1972. From 1964 onwards they were filmed and transmitted on British television a few weeks after they had taken place.
In the mid-1960s, the NME was dedicated to pop while its older rival, Melody Maker, was known for its more serious coverage of music. Other competing titles included Record Mirror, which led the way in championing American rhythm and blues, Disc, which focused on chart news; the latter part of the decade saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as rock; the paper became engaged in a sometimes tense rivalry with Melody Maker. By the early 1970s, NME had lost ground to Melody Maker, as its coverage of music had failed to keep place with the development of rock music during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owner IPC. According to Nick Kent: After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words "On this, his 35th album, we find Duane in as good as voice as ever," the NME had been told to rethink its policies or die on the vine.
Alan Smith was made editor in 1972, was told by IPC to turn things around or face closure. To achieve this and his assistant editor Nick Logan raided the underground press for writers such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. According to The Economist, the New Musical Express "started to champion underground, up-and-coming music.... NME became the gateway to a more rebellious world. First came glamrock, bands such as T. Rex, came punk....by 1977 it had become the place to keep in touch with a cultural revolution, enthralling the nation's listless youth. Bands such as Sex Pistols, X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons, whose nihilistic tone narrated the punk years perfectly." By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping Melody Maker, Record Mirror and Sounds.
According to MacDonald: I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Canada is a country in the northern part of North America. Its ten provinces and three territories extend from the Atlantic to the Pacific and northward into the Arctic Ocean, covering 9.98 million square kilometres, making it the world's second-largest country by total area. Canada's southern border with the United States is the world's longest bi-national land border, its capital is Ottawa, its three largest metropolitan areas are Toronto and Vancouver. As a whole, Canada is sparsely populated, the majority of its land area being dominated by forest and tundra, its population is urbanized, with over 80 percent of its inhabitants concentrated in large and medium-sized cities, many near the southern border. Canada's climate varies across its vast area, ranging from arctic weather in the north, to hot summers in the southern regions, with four distinct seasons. Various indigenous peoples have inhabited what is now Canada for thousands of years prior to European colonization. Beginning in the 16th century and French expeditions explored, settled, along the Atlantic coast.
As a consequence of various armed conflicts, France ceded nearly all of its colonies in North America in 1763. In 1867, with the union of three British North American colonies through Confederation, Canada was formed as a federal dominion of four provinces; this began an accretion of provinces and territories and a process of increasing autonomy from the United Kingdom. This widening autonomy was highlighted by the Statute of Westminster of 1931 and culminated in the Canada Act of 1982, which severed the vestiges of legal dependence on the British parliament. Canada is a parliamentary democracy and a constitutional monarchy in the Westminster tradition, with Elizabeth II as its queen and a prime minister who serves as the chair of the federal cabinet and head of government; the country is a realm within the Commonwealth of Nations, a member of the Francophonie and bilingual at the federal level. It ranks among the highest in international measurements of government transparency, civil liberties, quality of life, economic freedom, education.
It is one of the world's most ethnically diverse and multicultural nations, the product of large-scale immigration from many other countries. Canada's long and complex relationship with the United States has had a significant impact on its economy and culture. A developed country, Canada has the sixteenth-highest nominal per capita income globally as well as the twelfth-highest ranking in the Human Development Index, its advanced economy is the tenth-largest in the world, relying chiefly upon its abundant natural resources and well-developed international trade networks. Canada is part of several major international and intergovernmental institutions or groupings including the United Nations, the North Atlantic Treaty Organization, the G7, the Group of Ten, the G20, the North American Free Trade Agreement and the Asia-Pacific Economic Cooperation forum. While a variety of theories have been postulated for the etymological origins of Canada, the name is now accepted as coming from the St. Lawrence Iroquoian word kanata, meaning "village" or "settlement".
In 1535, indigenous inhabitants of the present-day Quebec City region used the word to direct French explorer Jacques Cartier to the village of Stadacona. Cartier used the word Canada to refer not only to that particular village but to the entire area subject to Donnacona. From the 16th to the early 18th century "Canada" referred to the part of New France that lay along the Saint Lawrence River. In 1791, the area became two British colonies called Upper Canada and Lower Canada collectively named the Canadas. Upon Confederation in 1867, Canada was adopted as the legal name for the new country at the London Conference, the word Dominion was conferred as the country's title. By the 1950s, the term Dominion of Canada was no longer used by the United Kingdom, which considered Canada a "Realm of the Commonwealth"; the government of Louis St. Laurent ended the practice of using'Dominion' in the Statutes of Canada in 1951. In 1982, the passage of the Canada Act, bringing the Constitution of Canada under Canadian control, referred only to Canada, that year the name of the national holiday was changed from Dominion Day to Canada Day.
The term Dominion was used to distinguish the federal government from the provinces, though after the Second World War the term federal had replaced dominion. Indigenous peoples in present-day Canada include the First Nations, Métis, the last being a mixed-blood people who originated in the mid-17th century when First Nations and Inuit people married European settlers; the term "Aboriginal" as a collective noun is a specific term of art used in some legal documents, including the Constitution Act 1982. The first inhabitants of North America are hypothesized to have migrated from Siberia by way of the Bering land bridge and arrived at least 14,000 years ago; the Paleo-Indian archeological sites at Old Crow Flats and Bluefish Caves are two of the oldest sites of human habitation in Canada. The characteristics of Canadian indigenous societies included permanent settlements, complex societal hierarchies, trading networks; some of these cultures had collapsed by the time European explorers arrived in the late 15th and early 16th centuries and have only been discovered through archeological investigations.
The indigenous population at the time of the first European settlements is estimated to have been between 200,000
Select was a United Kingdom music magazine of the 1990s, known for covering Britpop, a term coined in the magazine by Stuart Maconie. Its 1993 "Yanks Go Home" edition, featuring The Auteurs, Saint Etienne and Suede's Brett Anderson on the cover in front of a Union Flag, was an important impetus in defining the movement's opposition to American genres such as grunge; the magazine launched in mid 1990 and folded in late 2000, mirroring the rise and decline of the Britpop scene with which it became synonymous. Pop Babylon! Music and Beyond Music for Tomorrow Total Stereo Andrew Perry, deputy editor Harry Borden, visual contributor Giles Duley John Harris Graham Linehan Steve Lowe, contributing editor Dorian Lynskey Stuart Maconie Sarra Manning Caitlin Moran John Mullen, contributing editor Sian Pattenden David Quantick Miranda Sawyer Cass Spencer, art editor Roy Wilkinson, reviews editor Over the years the magazine gave away a number of free compilations; these included: Cassette, Oct 1990 The House of Love: Se dest James: Whoops Yello: Angel no Electribe 101: Talkin' with myself The Walker Brothers: My ship is coming in The Hummingbirds: House taken over Ruby Blue: Quiet mind The Lilac Time: Fields Dusty Springfield: Breakfast in bed Tom Verlaine: Cooleridge The Fall: I'm Frank Cameo: I want it now Factory Records, Cassette, 1991 Northside: Moody Places Instrumental New Order: Bizarre Love Triangle Cath Carroll: Moves Like You Happy Mondays: Kinky Afro The Wendys: Suckling Revenge: The Trouble With Girls Electronic: Lucky Bag Cath Carroll: Next Time Vini Reilly & Durutti Column: Megamix Creation Records, Cassette, 1992 C-RE 128 The Boo Radleys: Lazy day Swervedriver: Son of Mustang Ford Teenage Fanclub: Kylie's got a crush on us Silverfish: Vitriola Love Corporation: Gimme some love Ride:Time of her time (live version from Hultsfred Festival, Sweden August 1991 MK: Play the world The Telescopes: You set my soul Slowdive: Shine Sheer Taft: Atlantis Bill Drummond: The manager's speech Island Records, Cassette, 1993 Stereo MCs: Everything Nine Inch Nails: Wish Ice Cube: U ain't gonna take my life Starclub: Bad machine Freestyle Fellowship: Innercity boundaries The Disposable Heroes of Hiphoprisy: California über alles U2: Salomé PJ Harvey: Hook Dodge City Productions: As long as we're around Sheep on Drugs: Flaming church of baby jesus Apache Indian featuring Shaggy: Chok there The Cranberries: Put me down Cassette, October 1994 - Compiled by Chantal Kershaw and Andrew Harrison The Prodigy: We Eat Rhythm James: Honest Joe House Of Pain: On Point Liquid: Snow Storm Kaliphz: Vokalrekall Orbital: Impact Marxman: Scenes in my Mind Trans-Global Underground: Dopi Jonny L: Jonny L Cassette, Apr 1995 Boo Radleys: Stuck On Amber Gene: Haunted By You EMF: Perfect Day Stereolab: Seeperbold Massive Attack: Magnetic Shield Dub Sleeper: It's Wrong Of You To Breed Steamboat Band: Just Like Me Whiteout: Higher U2: Stay Teenage Fanclub: Nothing To Be Done Spiritualized Electric Mainline: Spread Your Wings Marion: Late Gate Show McAlmont: Worn Away Global Communication: Incidental Harmony Cassette, May 1995 Strata 3: A Man's World Bootman: To The Hip Lionrock: Packet Of Peace Danell Dixon: Earthquake Transglobal Underground: International Stomp Plastikman: Spastik Emmanuel Top: Ecsta Deal Barada: Mathematics Orbital: Are We Here?
Underworld: Dog Man Go Woof New Order 1963 Planetary Assault Systems: Booster Humate3.1 Björk: Human Behaviour Cassette, 1996 Ash: Kung Fu Underworld: Oich Oich Afghan Whigs: You've Changed Edwyn Collins: You Are on Your Own Beth Orton: Live As You Dream Rosa Mota: Shelflife Northern Uproar: Kicks Moby: Every Time You Touch Me David Holmes: Keep The Motor Runnin' Honey Trash Can Sinatras: Pop Place Divine Comedy: Becoming More Like Alfie Cable: Action Replay Replay Cassette, November 1996 Suede: She The Black Crowes: Just Say You're Sorry Genaside II: New Life IV The Hunted Space: Influenza Deus: Roses 18 Wheeler: Stay Baby Bird: Too Handsome To Be Homeless Ash: Punk Boy Dodgy: Grateful Moon Mainstream: Make It Easy The Boo Radleys: One Last Hurrah Cable: Steer Bawl: Crocodiles Tricky: Bad Things CD, June 1997 Blur: Get Out Of Cities Dodgy: Ain't No Longer Mantaray: Behind The Clouds DJ Shadow: The Third Decade, Our Move Hurricane #1: Faces In A Dream Kenickie: Millionaire Sweeper Toaster: Six Million Dollar Goat Bentley Rhythm Ace: Why Is A Frog Too?
Suede: Filmstar The Supernaturals: I Don't Think So Lamb: Cottonwool Spiritualized: Electricity The Candyskins: Help Me Stereophonics: Looks Like Chaplin GusGus: Polydistortion Gorky's Zygotic Mynci: Blood Chant Silver Sun: Bad Haircut Santa Cruz: Celebration On CD, December 1998 Ash: Jesus Says The Wiseguys: Ooh La La Space and Cerys Matthews: The Ballad of Tom Jones The Jon Spencer Blues Explosion: Lovin' Machine The Delgados: Everything Goes Around the Water Stereolab: One Small Step Cuba: Foxy's Den Les Rythmes Digitales: What's that sound Eddie Izzard: Kennedy Cornelius: Free fall Unkle: Rabbit in Your Headlights The Divine Comedy: Commuter Love Quasi: Th