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Category Archives: MUSIC

Was so disappointed to hear that @Ketherbound, a man of otherwise exceptionally good music taste, didn’t like reggae that I started this mix of some of my favourite dub & reggae tracks to try and change his mind.

That was a month ago. Chances are I’ll never get round to finishing it. So here it is in incomplete form – 17′ 30″ of dub genius, bass nob twiddling and my attempts at controlling an echo delay.

Download also available from above player

If he still doesnt like reggae after hearing this I’m gonna shave his hedgehog. That’s not a euphemism, he has a pet hedgehog.

Dr Alimatado – Best Dressed Chicken

Keith Hudson & Soul Syndicate – Black Heart

Augustus Pablo – King Tubby Meets Rockers Uptown

The Upsetters – Grumblin Dub

Horace Andy – Pure Dubbing

Horace Andy – Pure Ranking (Original)

Gregory Isaacs – A Cute Dub

Prince Jammy – Beat Them In Dub

Roots Radics – Mission Impossible

The Specials – Ghost Town (edit)

Leroy Horsemouth Wallace – Herb Vendor

Max Romeo – Chase The Devil

King Tubby – King Tubby’s Special


It was early 1994. I’d only recently discovered the mindblowing PJ Harvey album, Rid Of Me and was slowly realising that my obsession with electronica, HipHop and Mo’ Wax of the previous few years was making me miss some genuinely creative new rock music. I was working for a subsidiary of the Polygram group, the guys at Island sent me this knowing I’d fallen in love with the hitherto androgynous & mysterious PJ Harvey. They thought I’d like it. I still do 17 years later. In fact, this is probably my most listened to LP of all time. We’ve been through a lot together. The sticker on the front had 2 reviews on it. One has stuck in my mind as one of my favourite, succinct reviews of all time:

“dEUS’ LP is pretentious arthouse wank. But, as a fan of art and wanking, I love it. 5*”

I’m always a sucker for experimental music, whatever the genre. So a Belgian avant garde rock outfit banging out dissonant violin & double bass lead, distorted, arthouse hardcore rock with a splash of jazz was right up my alley. This LP STILL stands up as a brilliant piece even now. But back in 94 it was insane. It opened my ears up to a whole new world of musical possibilities.

It was fresh. As much as I love Nevermind that was the pinnacle of a pop-hardcore movement, it was almost formulaic, especially once every band tried to be them. That’s not a dig. I love that LP. But the rock landscape was awash with clones of their sound. Bands like Pearl Jam did nothing for me. Bland, generic drivel. Hardcore noisy rock felt like it was going backwards. It was like Daydream Nation had never happened.

But along came dEUS. From fucking Belgium! It’s a curveball of an LP in so many ways. From the opening violin riffs of the brilliant Suds & Soda it grips in a way that The Pixies would be proud of. The following 50 minutes of deconstructed melodies is a must have LP (I say 50 minutes as the last 2 tracks have never existed to me, I deny their existence like I do that of The Phantom Menace and co, they feel like a couple of stabs at singles). This is a masterclass of exploring a form of music and stretching its boundaries. Slipping from in your face distorted power to subtle layers of despairing warmth and smooth melodies that come crashing down around you. The production, structure and ambition still impress me today.

I’m amazed at how few people I know have even heard of dEUS, let alone this LP. In Suds & Soda, Jigsaw You, Morticia’s Chair and the epic WCS (1st Draft) this is the band at their very best. I saw them play it in The Astoria around 96 and Camden’s Electric Ballroom c98,  still two of the best gigs I’ve ever been to.

Apparently there’s now a Deluxe Edition available. I didnt buy it. The original needs no improvement. In short, GO BUY IT!


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Little Joy is as hard to pin down as it is to put down. The LP spans many genres without really sounding like any of them. It’s like Mogwai, Brian Eno and Battles doing sombre techno structured covers of The Fall songs on traditional rock instruments. Washes of post-punk/postrock mood drift over stripped down repetitive percussive beats and droning bass, guitars chip in with stabbing dissonant riffs. Vocals are used sparingly and effectively, the largely instrumental tracks are a joy and the restrained, sparse vocals manage to take them on to a different level.

Young chugs along like a bare bones Battles track before the drummer has his moment in the spotlight, his impressive solo kicks it up a gear and flows straight into Turn where the vocals tell us “I turn… I turn to see her…. We passed”. Sunbear brings tense intro chords stabbing away like The Fall in their pomp then the bass cuts loose.

Ignore the whimsical and misleading band name. I had this down as some kind of “alternative dance” band ala Caribou etc before I listened to it. That couldn’t be further from the truth. My Disco are no formulaic rehash. Wonderful.

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One of the most underrated  albums this side of punk rock. Cited by PJ Harvey as one of her all time favourite LPs and by Godspeed! & Mogwai as a massive influence on their conceptions.

This is a bleak, desolate LP of angular dissonance that Gang Of Four would be proud of with occasional, unexpected slabs of savage power piled on top. Abrasive layers of grating geometric guitar drag the tension up, threatening to unleash hell at any point before sinking back into the mist. It’s that constant refusal to fully let rip when you most expect it that makes this album. It ratchets up the tension levels, awkward structural pauses leave you hanging, waiting for the drop that doesn’t come before another layer takes the reins does the same. Then when you think it’s safe to relax they smack you in the earholes with a huge release of noise. A delicate balancing act between alienating restraint and forceful brutality. Of building and releasing.

It’s amazing to think that this is now 20 years old as it still sounds so unique and heavily relevant. It hasn’t aged at all, but then it never sounded like it’s era in the first place. It’s too clean, structured and tight to be grunge yet too repressed to be metal. This “odd” sound is probably why it’s initial sales were poor. Reviewers (and listeners) didn’t get it at first. I know I didn’t. I liked it, but I struggled to fully appreciate it until a fair few listens. Initially I wished they’d just get on with it, let fly with the power sections, it felt muzzled. But as I got to know it I realised just how ingenious and powerful that voltage denial was.

The instrumental tracks were written and rehearsed in their hometown of Louisville, Kentucky in 1990 and the lyrics and album were produced over just 4 days, at a cost to the band’s health. One member ended up in a psychiatric hospital while singer Brian McMahan was physically sick while recording the screaming chorus of Good Morning Captain over and over again.

The name Slint has become a euphemism for the kind of postcore proggy anti-prog soundscapes that their devotees Mogwai and Godspeed! are now renowned for. For me, at least, this LP almost singlehandedly created that movement. Very highly recommend that you get this LP and stick with it. Hugely rewarding.

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Inspired by watching the minimal film classics Hell In The Pacific and Two Lane Blacktop I made this Hiphop mixtape. Tracks were selected according to the “Less Is More” adage adhered to by both films.

Most of the tracks on here are stripped down Hiphop at it’s best. From Anti Pop Consortium all the way back to Scott La Rock and Boogie Down Productions. Real Hiphop, no gimmicky samples or shouty ranting. Just beats, bass and flows.

If a track can hold it’s own using only those 3 components then it’s real Hiphop in my book. So many “artists” these days rely on over produced, sample led backing tracks (Kanye, P Diddy, Jay Z etc for example). They bore me rigid. Though, sales figures suggest that’s not the consensus of the masses. But mass market figures don’t mean jack shit. After all, if you use figures like that then Xfactor and Britain’s Got Talent are the”best” TV shows ever made. They’re not.

Anyway, listen or download via the Soundcloud link below. Enjoy

1. DJ Babu – Classix

2. Alton Ellis – Rock STeady

3. Nancy Des Rose & Kool Keith – Supreme Sound

4. Anti Pop Consortium – Disorientation

5. Anti Pop Consortium & DJ Vadim – Timeless Void

6. Analog Brothers – Analog Anihilator Vs Silver Surfer

7. Anti Pop Consortium & Dj Vadim – Masters Of The Scratch

8. Earl Sweatshirt – Earl

9. Kool Keith – I Don’t Belive You

10. DJ Babu – Tempreezy

11. DJ Babu – Ebbtide

12. Clipse – Ride Around Shining

13. Kool Keith – Lived In The Projects

14. Eric B & Rakim – Chinese Arithmetic

15. Kool Keith – I’m A Tell U

16. Big L – ’98 Freestyle

17. Boogie Down Productions – Remix For P Is Free

18. Smif N Wessun – Sound Bwoy Burreli (Instrumental)

19. The Cool Kids – Black Mags

20. Big L – Ebonics

21. Kool Keith – I’m Seein’ Robots

22 Heat Sensor ft M Sayyid – Gravy

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Back in the 60’s & 70’s music lost some of it’s brightest lights. Many people who’s work influences music still today tragically passed away in their prime. Jimi Hendrix, Janis Joplin, Jim Morrison, Brian Jones and Ron McKernan of the Grateful Dead. Each one of them was only 27 years old when they died.

In December 1985, somewhere between the deaths of those legends and Kurt Cobain (who was also aged 27), a man called Dennes Boon had a fever and was lying down in the back of a battered tour van. His band had just supported REM. At their request. REM like them so much they had gone against their own label’s wishes to book them. They had won a very powerful ally and friend in Michael Stipe. The world was at their feet.

Boon’s girlfriend was driving them back to San Pedro, California when, somewhere along the I-10 Highway in the Arizona Desert, she fell asleep at the wheel. The van careered off the road, rolled and the prostrate “D” Boon was flung from the vehicle’s back doors. The impact broke his neck, killing him instantly. He was twenty seven years old.

To me, his death was every bit as devastating to music as the death of any of those mentioned because it signalled the end of the Minutemen, there and then. At the very point that the band were almost singlehandedly de-constructing the burgeoning US Hardcore & Punk from the frontline. While their (brilliant) contemporaries were going harder, darker, deeper, fuzzier and faster the Minutemen were tearing punk apart and dropping lumps of latin music, classical guitar, funk and free form jazz structure into it. This looks absurd on paper, but it sounds like it was always meant to be that way. They were unique, yet genre defining. And, after that crash, we will never know where they would have taken this new approach to.

The other two members reformed some years later (as Firehose) but they never got close to the magic of anything they did with Minutemen. I’m not suggesting they were passengers on Boon’s ride. Not in the slightest. The basslines of Mike Watt and snapped shut drumming of George Hurley is there for all to hear. It’s as integral to the overall Minutemen sound as anything Boon did himself. But the Minutemen was always a sum of all three parts.

The band formed proper in 1980 when childhood friends Watt & Boon added Hurley to the line up. Their name is derived from the Minutemen Militia (American Revolutionary War) and not from the commonly held belief that it referenced their standard track length (confirmed by Watt in the 2005 documentary We Jam Econo). They released various EPs & LPs before Double Nickels On The Dime came out on SST Records in 1984.

What makes this LP so very special in my eyes is that, although it is clearly a Hardcore/Punk based record it’s so incredibly difficult to pin down. It changes all the time, from one eclectic influence to another, from political satire to straight up humour, from brute force to incredible beauty. And yet, it all sounds like it’s one style. This is a coming together of 3 exceptional musicians, lots of very different approaches and a huge array of influences that together make something very unique.

On top of the band members input this LP was produced by Ethan James, famed for working with Black Flag, Sonic Youth, Jane’s Addiction and many many more emergent bands. His influence shouldn’t be underestimated.

The Album opens with “D’s car jam” and “Theatre”, a mix of Hardcore and funk pulled together over tight jazz forms before winding it’s way into “Vietnam”‘s Gang Of Four-esque-post-punk-funk territory and onto a sublime piece of classical guitar in “Cohesion”. That clears the air before “It’s Expected I’m Gone” throws a jazz bomb at Credence Clearwater Revival. All that and we’re not even 8 minutes in!

The whole album continues to move effortlessly between sounds and moods for over an hour. This ramshackle collection of songs is a whole so it’s nigh on impossible to pick out singular highlights though everyone in the world will know “Corona” after Jackass used it as their theme. I’m a huge fan of Television so have always had a soft spot for “Jesus & Tequila” and it’s Venus’ tinge. And “West Germany” & “Storm In My House” always catch my ears. But that will change again next listen. All these years later and I’m still finding hidden corners in this collection.

As for the mysterious “27” conspiracy. Load of rubbish in my opinion. But it certainly throws up a worthy list of hugely influential artists that D Boon’s name can comfortably sit among. Add Robert Johnson to that list. A tragic, bizzare anomaly.

RIP D Boon. Sadly missed

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8½/10. Psycho-symphonic

Noir filmscore ambience meets concrete guitars dropping the biggest slabs of noise you’ve ever heard with thunderous power. This band should be huge off the back of this LP. It’s one of the most accomplished pieces of metal I’ve heard in some time.

The album is billed as an homage to Eve, the original first lady and is basically one movement split into 5 segments. Not that you’ll notice the transitions, it flows from start to finish as one huge 45 minute piece of addictive noise.

Twisting from chilling ambient soundscapes into juggernaut riff-laden slabs that drag you along by the brain. That makes it sound far simpler than it actually is. This is a constructed, complex body of noise, devoid of cliches or laziness, everything here is considered and engineered to perfection.

I dont know much about the infinitely changing genres of Metal these days. Doom, Death, Stoner…. whatever. This to me is just plain real Metal. And possibly the best example of it I own.

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9/10. Bleak, bruiser.

For many years I’ve been listening to Daydream Nation, 13 Songs, Young Team and Lift Your Antenna, amongst many others, wondering where all these droning, monotonously bleak works of beautiful rambling soundscapes would take me to next. But I never seemed to find any successors. No more examples of that level of craft came my way for a long time. I was stuck with these LPs, looking upon them as some kind of endgame, an evolutionary musical dead end.

I always knew that those albums weren’t really the end. But I couldn’t find anything to hold a torch to their stark power. Everything seemed either too melodic, or too bland. I didnt know what pigeon hole people had put the likes of Mogwai, Godspeed, Sonic Youth etc into. I didnt want to know. I hate bracketing art like that. It restricts and governs it. I really didn’t know where to start looking again. So I waited.

Instead I spent years ploughing through Madlib, DOOM, Zeke, Lee Perry’s back catalogue or a host of other genres. I delved back into Joy Division, Gang Of Four, Authechre, Bowie. I’d put this “post rock” or whatever it is known as, firmly on the back burner.

Just as my copy of Daydream Nation was finally about to disintegrate into overworked dust I stumbled into this LP. I can honestly say, I don’t think I have ever been so instantly blown away by a new album. Ever. Right from the point the first chords of No Words/No Thoughts (below) whacked me in the ears like Mogwai’s Herod did so many years before I knew this was what I’d been waiting for.

Long, drawn out, droning riffs hammered from a single note dragged me down into the Swans’ peculiar world. Soothing pulses calmed everything down before the vocals crept up behind me with some hacked off, industrial guitar drones and kicked the fuck out of my head for the best part of 10 minutes. Wonderful. Almost 30 years since Michael Gira chose the band’s name beacuse “”Swans are majestic, beautiful looking creatures. With really ugly temperaments” they still fit the bill, if you’ll pardon the pun.

Dont get me wrong, it isnt all hard, brutal music. This LP is a beautiful, subtle, crafted masterpiece with many moments of melodic, warm, almost folk/country tinged songwriting. But these moments just serve to make you relax as waves of bleak white guitar noise and deconstructed percussion slide under the melody and drag you back into the hypnotic dirge all over again. It’s an overwhelming LP that commands all of your attention or none at all.

This is head and shoulders my LP of the moment. I have developed a very unhealthy obsession, finding my headphones virtually glued to me wherever I be. The sheer level of craftmanship is astounding, dragging 7 minute tracks out of smashing a single note inside out over and over is no mean feat.

The band’s modus operandi has always been to create music that is at once “soul-uplifting and body-destroying”. An intention they still manage to this day. The highest compliment I can pay this album is to compare it with one of the most powerful, bleakly beautiful books of our times. The similarities with Cormac McCarthy’s epic, The Road, are startling. Much like the book you’ll need a bit of time to yourself after you finish this LP, it’ll drag you down to a dark place but fill you with hope. And you’ll be immensely glad you experienced it.


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9½/10. Brain & Rib Tickler.

Some say the Swallow flying or the call of the Cuckoo is the first sign of summer. But for me, every year without fail, this album announces the sunshine. I cant help it. As soon as the sun comes out instinct takes over and I play this LP start to finish, over and over.

The music itself is amazing. But do some digging on the lyrics and this LP becomes a fascinating window to the past. Tales of deaths all over Kingston from (knowingly?) infected flour to pre-Hiphop gang fight gun deaths and celebration of black pioneers like Muhammed Ali etc. If you only ever own one Reggae/Dub LP, THIS is the one. An indisputable classic, it was famously name checked by Johnny Rotten on radio in 1978 and became a big punk/reggae crossover hit.

It’s a seminal, all-star 1978 album. Produced by Lee Scratch Perry, King Tubby, Upsetter & Scientist and featuring Horace Andy, Gregory Isaacs and John Holt’s vocals. I couldnt even begin to describe it, so listen:

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I cant think of many contemporary bands that have stayed as high on my playlists as Bristol’s scene makers Massive Attack. Ever since 1991’s Blue Lines LP they’ve been a constant on my walkman/cd-discman/mini-disc/ipod. An old reliable friend that went on trips all around the planet with me. Even though I rarely listen to other music of their ilk these days I always find myself returning to them often. A summer is not complete without a few days of Massive Attack tunes in the sunshine!

I was lucky enough to meet and drink with Grant Marshall (aka Daddy G) several times in the late 90s, through my work and you would genuinely be very hard pushed to find a nicer man in any walk of life. A proper gent. Through Grant I ended up meeting 3D (very short, in many ways) and the inimitable Horace Andy, who tried to make me smoke a pure spliff the size of a kitchen roll in the toilets at the Social on Gt Portland St. No wonder that man is ALWAYS smiling. I could barely see afterwards, proper mashed. Whereas he went on stage and killed it.

Unfortunately, at around that same time I decided to move to Scotland so kind of lost touch until last summer’s gig at the Glasgow Academy. We caught up briefly at the afterparty before I had to run off for the last Edinburgh bus. G was still a gent. Horace was still smiling. 3D was still small. And the music was still brilliant.

When I got home I made this mixtape in tribute to a band that have always been exceptional in many ways. Was chuffed with the Lately treatment. In fact, with a catalogue like that it was harder to chose what not to use. And finding tracks worthy of sitting alongside theirs wasn’t easy! Hope you enjoy it.




Massive Attack – Antistar

Madvillain – Savage Beast (Instrumental)

Massive Attack – Blue Lines

Madvillain – Supervillain Theme (Instrumental)

Massive Attack & Mad Professor – Backward Sucking (Heat Miser)

Massive Attack  – Safe From Harm

Lee Scratch Perry – Clint Eastwood

Massive Attack  – Lately

Soulwax – Krack

Chosen Few – Shaft

Massive Attack  – Black Milk

Massive Attack – One Love

Massive Attack – Five Man Army

Madvillain – Do Not Fire (Instrumental)

Massive Attack – Protection

Massive Attack & Mad Professor – Radiation Ruling The Nation

Massive Attack – Angel

Massive Attack & Mad Professor – I Spy

Massive Attack – Be Thankful For What You’ve Got

Heat Sensor ft M Sayyid – Gravy

Massive Attack – Weather Storm

Antipop Consortium & DJ Vadim – Masters

Massive Attack  – Splitting The Atom

Massive Attack – Daydreaming

69 – If Mojo Was AM

Massive Attack  – Sly

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Here’s a strange mixtape of mine from a few years back. Lots of off kilter experimental “rock” from Godspeed You Black Emperor!, Mogwai, Sonic Youth, Beta Band, The Melvins and others. Lots of guitar loops and long mellow builds. Was pleased with it, still am. Enjoy.

UPDATE: Asked Steve Mason of the Beta Band on Twitter if it was OK to post this mix…. He not only said “of course” but also RT’d it to his followers. Mighty approval indeed.



1.SonicYouth – Trilogy

2.The Beta Band – Assessment

3.Sonic Youth – Trilogy Pt2

4.Godspeed You Black Emperor! -BBf3

5.Sonic Youth – Trilogy Pt3

6.The Melvins – A History Of Drunks

7.Times NewViking -TeenDrama

8.Pink Floyd – Breathe

9.The Beta Band – ItsOver

10.Sonic Youth – Silver Rocket

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I was once, a long time ago, one of them there skateboarders. Not a very good one mind, but a passionate, proud one. I would spend all my pocket money and early wages on new gear, magazines, cassettes (for our younger viewers they are mp3s on a roll of tape) and trips on a 365 bus to the infamous concrete shitpit known as Rom Skatepark.

DOWNLOAD: Cargo Cult – Cargo Cult

DOWNLOAD: Skoundrelz – Exterminator

DOWNLOAD: Scram – Fear

DOWNLOAD: McRAD – Tomorrow’s Headlines

DOWNLOAD: Steve Caballero – You Will Go

[more tracks at end]

I would skate all day, with no money for lunch or a bus home (45minute skate home) and never be happier.

This was back in the days of Thatcher the Milksnatcher, an era of recessions and enormous pressure on young working class families like mine. There were riots happening in numerous cities and sectors of Britain. Black youths fed up of racism and police brutality & persecution, Miners striking, seeing their industry destroyed and clashing with the police on  daily basis, Anti-War protesters, Poll Tax riots etc.

And a host of marches and protests about public sector sell offs, NHS dismantling, Incapacity Benefits and the like. Times were bleak.

With the “adults” all going mental there was a huge section of the day’s youth, also disillusioned, with no idea where to look for guidance and inspiration. Many of us found it in Skateboarding.

It was like a big family of good cunts with a “Fuck you I wont do what you tell me” attitude. The rules were simple, do whatever the fuck you want, but not at others’ expense. If someone doesn’t like that, fuck em. You could wear what you wanted, as long as it wasn’t what the plebby non-skaters wore. And the soundtrack to it all was passed around the skatepark and copied on state of the art “Tape to Tape” midi hi-fis.

The mags and fanzines were littered with anarchic rhetoric, the brands were all heavily anti-corporate and the skaters did it ‘for the love’ (mainly because thats all they could do it for anyway at that stage).  Rainy days and evenings in were spent watching skate videos (for our younger viewers they are mp4s on a roll of tape) and listening to some genuinely creative DIY lo-fi music. The sounds were varied and followed the skaters rules of “do what you like” & “FUCK YOU”, an ethos that threw up some brilliant music.

Many of the skaters we worshipped were even IN the bands. Steve Caballero made a decent fist of a Cure-esque post punk artist while Tony Alva’s Skoundrelz were a more than decent band. The reviews section of RAD Mag and Thrasher were scoured every month and the local independent record shops started ordering stuff in for us especially. Much of the music from that era still sounds fresh today. Genuine angst & rebellion rarely dates. Good times.

Fast forward 20 years and the “sport” has changed almost beyond recognition. We were so anti High Street & mainstream culture when I was faceplanting concrete that anyone wearing Adidas or Nike would have been target number one in Rom. The corporations were the enemy. Nowadays the kids are all chasing the latest shiny wanky Nike shoes all over the interweb and skaters are signing for non skate brands who want in for “cool” points.

Like most things in life, money took hold at some point and turned it to shit.

Not often I’m glad to be as old as I am. But to have been around back then is something I’ll always be grateful for. RAD days.

DOWNLOAD: Free Beer – Start The Ark

DOWNLOAD: Accused – Take No Prisoners

DOWNLOAD: Dehumanizers – Halfpipe

DOWNLOAD: Stupids – Built To Grind

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INSPIRED by @TheGrammarNymph’s time saving list of “Music I Like” here’s a brief and far from definitive list of boat floaters from my musical world. This doesn’t include the multitude of single track belter bands that make my day. But you’ll get my drift. Please excuse the iTunes enforced US style dumbfuck order they fall in.

A – Abe Vigoda. Adam & The Ants (early). Ali Farka Toure. Amon Tobin, Anti Pop Consortium. Antibalas. Aphex Twin. Augustus Pablo. Autechre

B – Beta Band. Billy Childish. Black Dog. Black Flag. Black Keys. Art Blakey, Booker T & The MGs. Brian Eno. The Bronx. Buck 65. Blues Brothers OST

C – Caribou. Chopin. The Clash. Clinic. Clipse. Cold Cave, The Cure.

D – Darkhorse. Dave Brubeck. David Bowie. Dead Kennedys, Death Grips, Deerhunter. Depeche Mode. dEUS. Devo. Dillinger. The Doors. (MF) DOOM. Dr Alimantado.

E – Eric B & Rakim.

F – The Fall. The Feelies. The Flaming Lips. Flying Lotus. Folk Implosion. Fuck Buttons. Fucked Up. Fugazi.

G – Gang Of Four. Gaslamp Killer. Gil Scott Heron. Gnod, Godspeed You Black Emperor!. The Gories. Grinderman.

H – The Haxan Cloak, Tim Hecker, Helmet. High On Fire, Horace Andy.

I – Iggy Pop, Ice Age

J – J Dilla. The Jam. James Brown. Jimi Hendrix. The Jesus & Mary Chain. Joy Division.

K – Keith Hudson. King Stitt. King Tubby. Kool Keith.

L – Lalo Schifrin. LCD Soundsystem. Leadbelly. Lee ‘Scratch’ Perry. Liars, The Libertines. Linton Kwesi Johnson. Low.

M – Madlib. Magik Markers. Massive Attack. Matthew Dear. Mazzy Star. The Melvins. The Minutemen. Miles Davis. Minor Threat. Mission Of Burma, Mogwai. Mudhoney. My Disco

N – New Order. Neige Morte, Nirvana. No Age.


P – PJ Harvey. A Place To Bury Strangers. Portishead. Public Enemy.


R – Radiohead. Richmond Fontaine.

S – Sam Cooke. Sandwell District, Siouxsie & The Banshees. Sigur Ros. Skullflower, Slayer. Slint. The Smiths. Sonic Youth. Sparklehorse. The Specials. Colin Stetson, The Stone Roses. The Stooges, Sunroof. Swans

T – Television. Thee Headcoates. Thelonious Monk, Times New Viking. Alexander Tucker.

U – Ufomammut

V – Valient Thorr.

W – White Denim, White Hills, Wire.

Y – Yo La Tengo. Yuck.

Z – Zeke