Top 100 Electronic Music (including trance, house, techno, ambient, IDM, jungle, goa, avante-garde, indie electronic, etc.) Albums of All Time

  1. Before I say anything else, know that any recommendations are greatly appreciated at this point, to be added to the "albums to consider" list. They will ALL be listened to (time willing, that is).
  2. I've only got the top 70 so far, but I'm going to finish it, it just takes a really long time to make a list like this. There's a lot to consider when saying something like "the best of all time," and I intend to see that every choice is perfect. I have more than 100 already on a list, I just need to sort through them and order them, and cut down on the number. I also want to see every important subgenre of electronic music represented here, without too much focus on any one section. ie: many people on listology release lists with names like "The top 100 Electronic dance tracks of all time," which turns out to be a list entirely made up of trance music, with 2 mainstream house songs. When called on it, they then argue "Well, that's because no other electronic dance genre is as good as trance." This is wrong, and insulting to people who like other styles, and usually the result of a narrow interest and view on the part of the listmaker.
  3. Another thing I'm trying to minimize is that horrible "the first is the best" bias. Some things really do get vastly improved on as time goes on. Although other times future works are really derivative of the first in the style, so the first really is the best...but I'm going to try to account for that.

  4. Note: the subgenres that will be represented here are:
  5. Trance, house, goa/psy, techno and minimal, electro, IDM, minimalism, avante-garde/musique concrete, jungle, abstract hip-hop, ambient, ambient dance, downtempo, worldbeat, Krautrock/psychedelic rock, early synth, synthpop, electronic pop, electronic rock, "progressive," microhouse, acid jazz, and glitch.
  6. Industrial is touched on, but all I really do is acknowledge its existence. The list will go no deeper than that into the genre, as I personally feel industrial music made its point by the time the first album was finished. The purpose of the style is the making of "anti-music" - producing the ugliest sounds possible for the purpose of exploring the line between what is and isn't music. As far as personal listening goes, this doesn't appeal to me, and honestly won't to most electronic music fans. What it really boils down to is that I don't like industrial very much, although I'm glad someone out there is making it.

  7. Note: I've run into some difficulties here. It seems that "electronic music" can't really be classified as a megagenre per se, as I believed. I don't think electronic genres are actually related on a basis of being electronic, or on particular electronic elements, but on structural, thematic, and aesthetic relations. This is comparable to saying that rock genres are not classified as such because they centre around the use of guitars, drums, bass guitars, and vocals, but through these other relationships.
  8. Shoegaze was the main style that threw my neat definitions into disarray. Many of its predecessors were electronic, many of its descendants are electronic, but it is not itself generally considered electronic music, but a form of indie rock. This doesn't mesh with the idea of "electronic music" being defined as its own specific category - and this is actually pretty much intuitive, as many "electronic" artists incorporate real instruments, and many "real instrument" bands use electronics or electronically distort their music.
  9. This leads me to think that the only reason electronic music is composed as it is, is because of the unique qualities and properties that electronics provide that traditional can't. It gets its own category only because some of the properties inherent in the use of electronics create similarities between even the most distant electronic styles. In other words, while happy hardcore and music concrete are obviously not historically related in almost any way, there are similarities between then that come specifically from the fact that both use electronics.
  10. So what are the special properties inherent in the use of electronics? My guess is, essentially, the production of sounds ad musical qualities that are impossible for traditional instruments. This boils down to:
  11. - very precise, complex and/or fast grooves and beats
  12. - alien, sourceless sound with no real-world comparison
  13. - extreme textural complexity
  14. - truly perfect composition - Since recording is generally part of the composition process when electronics are used, this gives musicians all the musical control that serialists attempted to achieve, without having to map every element of the music out onto a physical composition.
  15. These properties are perfect for creating texture and rhythm, and a musical focus on the elements is likely why so many electronic genres are actually related to each other - all are preoccupied with one or the other - or both.

  16. So, for the reasons stated above, I've broadened the requirements for an album to make the list. It doesn't even need to be predominantly electronic anymore: it must simply involve electronics in some way, and be texturally and/or rhythmically focused (this actually excludes many predominantly electronic albums that would never make the list anyway, such as much of the late 90's teen pop).

  17. Steve Reich - Music for 18 Musicians

  18. Year: 1978

  19. Electronic genre: Minimalism

  20. Difficulty Level: 3/10

  21. What the Critics Said:
  22. 5/5
  23. New York Times: Concert review of Steve Reich's performance of this piece has no actual rating, but the article gushes. I'd say they're giving it 5/5: article here
  24. Critic Nathan Andrew Seifert puts it in his "10 albums he considers brilliant" list.
  25. Critic Jon Dolan: No star rating, but again, the review gushes and calls it boundary-expanding, to the point that I'd say they wouldn've given it 5/5.
  26. Critic Scott Paulin: again, gushes to the point that I'd say he gives it 5/5.
  27. Barnes & Noble users: 5/5
  28. Discogs raing: 4.8/5

  29. My "review":
  30. Music for 18 Musicians is not even electronic, not in the slightest. However, the structure of most electronic music, the audio world most of the mega-genre resides in was perfected here. You see, there was a genre of music created in the 60's called "minimalism." Traditional composers had long exhausted the "classical" sound, and were now all using a style called "serialism." The purpose of this "music" was to control every aspect of the sound to the point that any two playings of the composition would be exactly the same. The result? Compositions that became a)unbelievably difficult to play; b)Almost completely soulless; and c)Impossible to enjoy without mathematically analyzing the musical structure. For everyone who likes the feeling of being trapped in a burning iron maiden, try some 50's Stockhausen, and you'll understand serialism really quickly.
  31. So, since no one actually liked serialism, a bunch of composers decided to rebel against it and reject everything serialism stood for in one of the 20th century's great strokes of artistic genius: minimalism. Why not make simple music that is almost completely based on chance? And predictably, the results were beautiful, alive, and permanently kicked out of the artistic community. Oh modernist pretension, where would we be without you?
  32. Anyways, yeah, that's minimalism. Repetitive, rhythmic, almost dancible, melodic, tuneful, atmospheric, organic, and accessible, but still intelligent and open to analysis. This music was almost totally based on slowly shifting repetition, which was often purposely generated by pure chance (ie: In C was made bytelling a bunch of musicians to play their parts "at their own pace," and by only playing what they felt like.). Music for 18 Musicians wasn't the first minimalist piece (Music for 18 Musicians is the first minimalist piece in the same way that the Andromeda Galaxy is the first thing you'll find outside of New York), but it was progbably the very best of the style. Gorgeous, catchy, ever-shifting melodies, and a light and lovely atmosphere made up of an amorphous wall (Great Wall of China, really) of the prettiest traditional instruments. And it never gets tiring: there are days when I want to mix the first and last track on this album together and listen to this album on repeat. It's like an infinite song, and since it loops back on itself (the end IS the beginning), it's seems like that's what Reich wanted you to think when he made it.

  33. DJ Shadow - Endtroducing...

  34. Year: 1996

  35. Electronic genre: Abstract hip-hop/Sound Collage

  36. Difficulty Level: 2/10

  37. What the Critics Said:
  38. All Music Guide: 5/5
  39. Alternative Press: 5/5
  40. Robert Christgau: A+
  41. Entertainment Weekly: A-
  42. Mojo: 5/5
  43. Q : 5/5
  44. Rolling Stone: 5/5
  45. Spin: 4.5/5
  46. UNCUT: 5/5
  47. Pitchfork Media: 91%
  48. Discogs Rating: 4.6

  49. My "review":
  50. Nothing on this album is original, the entire thing is made up of samples of other artists, and you'd never know it from listening.
  51. This is now a cliche, but not when Endtroducing came out: people had sampled before (lots), but for the most part (EDIT: there are a couple of very rare, forgotten, and essentially lost albums made entirely of samples. I haven't heard them, but it seems fairly unlikely that they're very good anyway) no one had ever been able to make an entire album without doing something themselves. Not until Endtroducing.
  52. But don't let the process fool you: this would be a perfect album no matter how it was made. Jazzy beauty oozes out of every note (Does the word "note" even mean anything anymore?): DJ Shadow plays his turntables like a hip-hop Miles Davis. You can't even tell it's a technical masterpiece, this is pure (the only?) jazz-hop genius. It's the perfect soundtrack to a 20th century post-modern poetry reading in a poorly lit cafe on a cold, rainy night. Only, you listen to the music instead of the poetry. But still, like all great electronic music, it has it's own feel, it's own personal emotional core that no other album has ever captured, that can never really be described. While there are other perfect soundtracks to 20th century post-modern poetry readings in poorly lit cafes on cold, rainy nights, there are none that feel quite like this (and none that are nearly as good). Hell, if I ran 20th century post-modern poetry readings in poorly lit cafes on cold, rainy nights, this would be the soundtrack every single time.

  53. My Bloody Valentine - Loveless

  54. Year: 1991

  55. Electronic genre: shoegaze

  56. Difficulty Level: 4/10

  57. What the Critics Said:
  58. I don't even need to go into it. It is widely considered the best album of the 90s.

  59. I know it's not really electronic: the only electronic aspects are the mountain of effects pedals used on the guitar work, and some keyboards. But like I said above, it's the textural focus of the music that qualifies it, and the fact that much of what shoegaze inspired was/is electronic (Ulrich Schnauss, m83, etc.). Plus it's one of the best albums of all time, any genre.

  60. Faust - Faust

  61. Year: 1971

  62. Electronic genre: Krautrock/Musique-concrete

  63. Difficulty Level: 10/10

  64. What the Critics Said:
  65. All Music Guide: 4.5/5
  66. Piero Scaruffi: 3rd Best Rock Album of All Time
  67. 4.5/5

  68. My "Review":
  69. This sounds like Hell. I don't mean it sounds terrible and boring, I mean, it actually sounds like Hell...or maybe "the Netherworld." At first, it sounds like you're driving through Hell, trying to get a radio station, but since you're in the centre of the earth, reception is understandably poor. Hell has a radio station, and, (I think this may even be the joke Faust is getting at) of course, it plays mainstream popular music. Then, driving through Helltown our car stops working: the engine overheated and it won't run anymore. But you stay hiding in the car, as just that moment, Hell's marching band of skeletons, devils, and demons goes by. There are floats, showcasing different tortures (all campily redone) and reenacting all kinds of Satan-driven events in history (from Hitler's slaughter of the Jews, to the Rwandan massacre, to the releasing of Celine Dion's first album; again, all deliberately silly). Then the horn section comes by. This being Hell, they're all overloud, and don't really know how to play their instruments. You're trying to get away from the noise, but no matter how fast you run, Hell moves with you at the precise same speed: you can't escape. Then the singing begins, announcing the coming of the Satan float. He makes the band stop, shrieking in electronic pulses, laughing as everyone around screams in pain at the noise, then flees. But the band stays together, and marches by at a hyperspeed. You run, escaping Helltown this time, across a barren waste both frozen and burning, accompanied by the band, marching by now and then, passing Hell's bar, where the pianist isn't playing, he's just warming up forever. Hellwinds accompany us, almost blowing us over at times, along with the howls of wolves (although the two seem to merge together). Odd voices come out of the ether, shipwrecked tankers float by the land, a fog falls, and we are almost driven to madness, falling over into a nightmare. And so ends "Why Don't you Eat Carrots?", the first third of the album.
  70. This same bent continues throughout the next two songs, but they're very different (the second song being the nightmare...[could you actually have a nightmare in Hell, if it existed?] The third is awakening from the nightmare, and being unable to tell what is the nightmare, and what is Hell...forever].
  71. While I could describe my own "Faust" world for pages, I must also note the importance of this album. It was one of many albums that shattered conventions in the 70s, even convention-shattering for Krautrock. This album is specifically rooted in "deconstructive" ideas (it was this concept's most pop-accessible version yet, which doesn't really say anything - and isn't as accessible as say..."The Orb"), taking apart a huge number of influences with a chainsaw, and throwing them all into a heap, their emotional centres laid bare. When this album came out, it was suddenly pretty much possible to do anything with music, and everyone knew it. Artists like Nurse With Wound, Throbbing Gristle, and maybe even sample-heavy ambient house producers owe quite a lot to this music, whether they know it or not.
  72. This is proof that Hell can be FUN!
  73. This album is already showing serious diminishing returns after 5 listens. It's good, but problematic. Analyze it all you will, it really just boils down to being a collage. A good one though, so it's still worthy of a very high position. It's just really not the number one of all time, especially considering how difficult it is, and that sound collage was nothing new at this point.

  74. Sasha & Digweed - Northern Exposure

  75. Year: 1995

  76. Electronic genre: Trance/Progressive house/Ambient Trance

  77. Difficulty Level: 2/10

  78. What the Critics Said:
  79. Discogs ranking: 4.9/5
  80. All Music Guide: 2.5/5
  81. Inblot: read it here. No star rating, but I interpret the review to be 5/5 (as again, the review gushes).
  82. No star rating, but the genre they give it is "amazing" and the whole review is just them going on and on about how everyone should own it. So 5/5, I guess.
  83. 4.5/5

  84. My "review":
  85. A DJ mix CD is supposed to be a musical journey, perfectly showcasing the DJs talent along with an immaculately chosen flow of music. However, until 1995, with the release of this masterpiece, the vast majority of DJs simply threw their favorite tracks together on a CD with minimal mixing, the theory being that no set of CDs would ever really capture the feeling of being at a rave or party. All of that changed with Northern Exposure. The modern ideal was born (then later forgotten. Oh anthem trance). Northern Exposure is to artistic DJ mixes what sex is to children: totally impossible and nonexistent without it (and better than anything that results after it). Northern Exposure was the first, and it's never been topped (and never will be).
  86. For people who don't care about process, you've got a single-track ambient trance masterpiece on your hands. I mean it: the tracks fit together so exactly that it almost seems they were written to be together. There is a gradual feel of build from the beginning of CD 1 to the end of CD 2: beginning with The Orb's float tank ambient, ending with Underworld's stratospheric trance anthem "Dark Train," the built is so subtle it can't even be noticed, yet lacking the monotonous flatline of other DJs managing similar effect: it's dynamic and alive. Listening to this mix is like watching someone take pieces out of 40 different jigsaw puzzles and put them together (unmodified) to make a completely different picture that is not only infinitely more beautiful than the originals, but contains no seams between the pieces. This mix is the reason why Sasha and Digweed are the only DJs on the top 10 that are worthy of their position. This is the musical personification of balance.

  87. Aglaia - Three Organic Experiences

  88. Year: 2003

  89. Electronic genre: Ambient

  90. Difficulty Level: 3/10

  91. What the Critics Said:
  92. The Ambient Review (aka Brian Bienowski): Best Ambient Album 2003. The review has no star rating, but it's so loving that I can't imagine it being anything but 5/5:
  93. Backroads Music: 21th Best of 2003
  94. Discogs rating: 4.8/5

  95. My "review":
  96. This is probably the most underrated album of all time. No one anywhere knows this album exists, but that's really the world's loss.
  97. But, I'm not going to rage at horrible marketing, that would just overshadow a perfect album.
  98. This is THE BEST ambient album ever created. I have listened to it more times than any other, it's better than Biosphere, better than Aphex Twin; it's even better than Brian Eno. It combines all the ambience of everything previously mentioned, with a mystical, ancient sound, slowly coalescing in and out of organic drones (if that's even possible). Listeneing to 3 Organic Experiences is like exploring a mythical version of Earth before humans came into existence. The first part brings you under the sea, the second onto land, and the third into the Arctic, and eventually, the sky. And you see (and hear) everything you would expect in a world just ending it's Goddess-driven creation.

  99. Klaus Schulze - Irrlicht

  100. Year: 1972

  101. Electronic genre: Experimental/Minimalism/semi-ambient/early synth/krautrock

  102. Difficulty Level: 7/10

  103. What the Critics Said:
  104. Discogs Rating: 4.3/5
  105. Amazon: 4.5/5
  106. Piero Scaruffi: 13th greatest rock(?) album ever
  107. Tigersushi: 5/5
  108. All Music Guide: 5/5

  109. My "Review":
  110. Like most albums on this list, it's very difficult indeed: it takes a very good number of listens to sink in, to associate with a mental world that makes the album worthwhile. At first, I didn't see anything here but generic, if very high quality space music (the invention of space music, yes, but still nothing special). Then I realized what it was, and how unbelievably wrong I was. This wasn't space music, but a veritable musical black nothingness. Irrlicht wasn't the sound of floating in space, it was of floating in less than space.
  111. And this is not a bad thing: it's incredible! It is said (by physicists), that if you could go beyond the edges of the universe, into the nothingness into which the universe expands, the universe would extend out with you, by virtue of the simple fact that you're there. However, all around would be no universe: nothingness. But nothingness is impossible: when all matter is removed, random "positive" and "negative" energy and "positive" and "negative" matter will come into existence, resulting only in an average of nothing. So, in effect, you would be in nothingness, but you would see all sorts of unbelievable things around you, all popping in and out of existence in rapidly disintegrated and reintegrating mirror images. This surreal nothing is the endless, droning strands of Satz Ebene, infinitely far from the edges of our universe.
  112. Satz Gewintter is the same world, but now we're moving, heading back towards our universe at infinite speed, so fast it appears as almost stillness. The surreal world passes us by, distorting with more chaos, flowing by the edges of our ethereal ship.
  113. Satz Exil Sils Maria brings us the edge of our universe, trillions of miles away, the first light of "home" reaching our eyes, the mirrored chaos all around us.
  114. Brilliant, one of the only pure ambient albums I'll actually listen to, rather than just putting it at the threshold or sleeping to it. It's the sound of both infinity and nothingness.
  115. Not recommended for agoraphobics.

  116. Can - Future Days

  117. Year: 1974

  118. Electronic genre: Krautrock/Psychedelic

  119. Difficulty Level: 5/10

  120. What the Critics Said:
  121. Soon Over Babaluma:
  122. All Music Guide: 4/5
  123. 4.5/5
  124. Discogs rating: 4.5/5
  125. Pitchforkmedia: 74th best album of the 70s

  126. My "review":
  127. Banco De Gaia, Peter Gabriel, Deep Forest, Tangerine Dream, Enya, Enigma, The Orb, the entire Escapes and Cafe Del Mar series', hell, every electronic artist that's decided to put backwards Mongolian warbling or glitched-up ant flutes of the Serengetti, or Kalahari tongue-clicking into their tracks owe everything to this one album here. It's psychedelic and rambly texture, as only krautrock can be, but with very subtle ethnic influence. Unlike the shamelessly tribe-sampling worldbeat artists that would dominate the downtempo world for the next 20 years, this is all under-the-sound, it's all very hidden and elegant. It seems to recall some unknown ethnic group you've never heard's almost like general ethnic, with no actual direct influence. Sort of like...the experimental music of a parallel universe where an Arabian-African hybrid civilization became Earth's dominant society.
  128. While this is only arguably electronic, there's so much keyboard and found sound here that I think it's a crime to call Soon Over Babaluma anything else. (Oh yeah, it was a major influence on trance music too).
  129. I've decided to add Future Days here: repeat listens (thanks to lukeprog) and similar concept. I'm putting together sets of any two albums that I feel were similar enough in concept taht the second was just a development on the first, but still worthy of its greatness. In other words: the two CDs could have been initially released as a 2-disc set.

  130. Oval - 94Diskont

  131. Year: 1994

  132. Electronic genre: Glitch/Ambient

  133. Difficulty Level: 5/10

  134. What the Critics Said:
  135. Pitchforkmedia: 47th best album of the 90s
  136. Discogs rating: 4.4/5
  137. 4.5/5
  138. All Music Guide: 5/5
  139. Wire: Albums of the year 1996
  140. Wire: 100 Albums that set the World on Fire
  141. Blow Up: On the 600 Essential Albums list

  142. My "review":

  143. This album is now extremely famous, as it made a massive musical concept that now spans a vast number of genres actually musical: that being the glitch. This style has found its way into techno, into electro, into house, and yes, now even into pop music. However, that now almost cliche electronic idea became a musically enjoyable reality with this album, right here (well, technically the Oval's album before it, but no one really noticed). But who would've thought that music, actual music and not noise, could be made like this? Cutting up CDs and gluing them back together, dropping paint on their surfaces, hacking away at them and scratching them with blades...and the result is music?
  144. Still, I think focusng on all that process totally misses the point of this album: the music. Pastoral, expansive, and epic, the 24 minute opening track, Do While is deceptively simple, but brings to mind climbing a great grass-covered mountain. There are sparkling, red-glowing trees all around, endlessly dropping shimmering leaves, the trees growing thicker and thicker as you climb. The branches move almost unnaturally, and the view of the valley below can barely be seen: it is covered in layer upon layer of silent static. Although glimpses of a small, ancient town and the sound of its ringing bell glimmer through the haze when it is focused on, you know can't reach it, you can only go up.
  145. On reaching the top of the mountain, Do While ends, and we find ourselves in a collage-world, slashed apart bits and pieces of everything fly by us in a dark mist, becoming clearer and clearer as we run over the electronic, yet magical plateau, and just as things reach their greatest frenzy...we find ourselves climbing back down, and Do While begins again.

  146. The Notwist - Neon Golden

  147. Year: 2002

  148. Electronic genre: Glitch Pop

  149. Difficulty Level: 4/10

  150. What the Critics Said:
  151. Metacritic Score: 89/100
  152. Pitchforkmedia: 9.2/10
  153. All Music Guide: 4/5
  154. Popnews: Best Album of 2003
  155. Intro: 2nd Best Album of 2003
  156. Robert Christgau: B-
  157. Dusted Reviews: No Actual ranking, but I'd judge their review to say about 4.5/5

  158. My "review":
  159. Glitch pop has never been lovelier than it is on this sexy little bastard child. Equal parts MORR music (german electronic pop label) and Oval, this was the last thing anyone expected from The Notwist at the time of their conception: coming from a generic alternative and nu-metal band, suddenly we get a glitchy, emotional masterpiece. And what a masterpiece it is.
  160. To me, it sounds like the soundtrack for a small town of lovable people in a post-apocalyptic future. They're all mutated and changed to the point of being no longer human, and are thus unable to leave, but are otherwise happy (though always yearning for escape from their isolated existence).
  161. The lyrics are completely abstract, but more important is their delivery: Notwist's lead singer has a brilliantly charismatic voice that makes the sound of the music itself difficult to focus on, but still ever-present as atmosphere. However, if one manages to escape his engaging pull, you'll find clicks and cuts and broken melodies, worthy of any of Mille Plateaux's best, seamlessly mixed with a perfect indie-rock guitar preciousness.

  162. Monolake - Hongkong

  163. Year: 1997

  164. Electronic genre: Minimal Techno/Dub Techno/Ambient Techno

  165. Difficulty Level: 7/10

  166. What the Critics Said:
  167. Mark Warren Weddle: No rating, but his review screams 4/5: here
  168. Stylus: A. They've never actually reviewed it, but they review a later Monolake album as A-, and imply that Hongkong was better.
  169. Discogs: 4.5/5
  170. All Music Guide: 4.5/5

  171. My "review":
  172. I didn't think there was anything at all to this music the first time I heard it. I couldn't hear any of the layering, the atmosphere, the depth: nothing. Just maddening repetition.
  173. But, sadomasochistic listener that I am (no, seriously, look at some of the albums on this list) I gave it repeat listens. And I was so...completely...wrong. This is such amazingly complex music: there is almost continuous change in all of this, it's like an organo-futuristic Steve Reich. It's so structurally shifting that, despite being ambient in nature, you can actually sit and listen to this album sans any boredom at all.
  174. Again, like all great electronic music, it has a completely irreplicable atmosphere never heard anywhere else (that isn't blatantly copying). Oxymoronic as it may sound, this is organic minimal techno. The first track, Cyan, sounds like being in a greenhouse in the year 2984 after humanity has been replaced by a cyborg-tomato hybrid species. Index is sort of like fleeing through a robot-infested field filled with these computerized (but mostly harmless) biological nightmares, the greehouses they're grown/manufactured all around, the landscape completely barren and devoid of existence but for the now-abandoned bunkers and metal scrap heaps made by a now-extinct humanity. Lantau is like a visit to the island where these creatures were first designed, the brain-centre of this mutilated planet: green and beautiful, but twisted After more demented wandering through this gorgeous, but barren and terrible world, we finally escape on the ambient winds of the now-green and overgrown last working maglev train in the final resting place of Neotokyo the 5th, out to an unknown future.
  175. Really relaxing. One a very few albums here that I can both sleep to and listen to.

  176. 4Hero - Parallel Universe

  177. Year: 1994

  178. Electronic genre: Jungle/Acid jazz

  179. Difficulty Level: 4/10

  180. Brian Eno - Ambient 1: Music For Airports

  181. Year: 1978

  182. Electronic genre: uh...

  183. Difficulty Level: 3/10

  184. What the Critics Said:
  185. Rollingstone: 4/5
  186. Slant: 6th Best Electronic Album Ever
  187. All Music Guide: 5/5
  188. Pop: 101th Best Album of all time
  189. Musichound: 4.5/5
  190. Robert Christgau: B
  191. Robert Dimery: One of his 1001 Albums to Hear Before you Die
  192. Vigin Encyclopedia of Popular Music: 4/5
  193. Discogs rating: 4.5/5
  194. Pitchforkmedia: 9.2/10

  195. Mille Plateaux - Clicks + Cuts 2

  196. Year: 2001

  197. Electronic genre: Glitch/Ambient/Microhouse

  198. Difficulty Level: 8/10

  199. The Orb - Adventures Beyond the Ultraworld

  200. Year: 1991

  201. Electronic genre: Ambient House/Sound Collage

  202. Difficulty Level: 3/10

  203. Massive Attack - Blue Lines

  204. Year: 1991

  205. Electronic genre: Trip-hop

  206. Difficulty Level: 4/10

  207. What the Critics Said:
  208. All Music Guide: 5/5
  209. Mixmag: Best Electronic Dance Album of All Time
  210. 7th best album of the 90s
  211. Rollingstone: 101th Best Album of all Time
  212. Face: Best Album of 1991
  213. Pitchfork: 85th Best Album of the 90s
  214. Muzik: 14th Best Dance Album of All Time
  215. Pure Pop: 2nd Most Important Album of All Time

  216. Kraftwerk - Autobahn

  217. Year: 1974

  218. Electronic genre: early synth

  219. Difficulty Level: 3/10

  220. What the Critics Said:
  221. Leonard's lair: 4/5
  222. Sputnikmusic: 5/5 (and 14th best of 1974)
  223. Rollingstone: No rating, but the review gushes over it, and the voted rating is 4.5/5
  224. Allmusicguide: 5/5
  225. Q: 4/5
  226. Robert Christgau: B-
  227. 4.5/5
  228. Discogs rating: 4.6/5

  229. My "review":
  230. Up until this masterpiece, electronic music was either a)novelty, only heard because it was a different way of doing the same things that could be done without it (listen to Switched on Bach, or Popcorn), b)Self-conscious experimentation, almost impossible to listen to by anyone who isn't a computer or a music Ph.D, or c)another instrument for rock music. This album changed all of that, and permanently split electronic music off from rock and experimental music, forming a new mega-genre of music completely unheard of or thought of until Autobahn. And it's a masterpiece: the first track is a 23 minute epic that gorgeously conjures up a Sunday drive down a highway in 2948, surrounded by 70's kitchy robots dancing around electronic rainbows while your windshield wipers knock off little flitting electric fairies unlucky enough to get smashed onto your antimatter forcefield. Gorgeous.

  231. Ricardo Villalobos - Alcachofa

  232. Year: 2003

  233. Electronic genre: Microhouse/Minimal Techno

  234. Difficulty Level: 7/10

  235. Radiohead - Kid A

  236. Year: 2000

  237. Electronic genre: Electronic pop/IDM

  238. Difficulty Level: 5/10

  239. Everything that can be said about this album has already been said, as music critics seem to like declaring this "the best album of all time" (along with OK Computer). It certainly isn't, but it is still quite good.

  240. Orbital - Snivilisation

  241. Year: 1994

  242. Electronic genre: Downtempo/Trance/Ambient Trance/Ambient House

  243. Difficulty Level: 3/10

  244. Plastikman - Consumed

  245. Year: 1998

  246. Electronic genre: Minimal Techno

  247. Difficulty Level: 7/10

  248. Global Communication - 76:14

  249. Year: 1994

  250. Electronic genre: Ambient dance/Ambient/

  251. Difficulty Level: 3/10 for most I think, but oddly, it was about 9/10 for me

  252. My "review":
  253. This album took me forever to get into. I'd been recommended it about 7 times before actually listening to it, and I never understood it on any listen. That changed recently (for reasons that are perhaps psychedelic, but I'm admitting nothing), and I was suddenly whisked away into a calm, gentle world enshrouded in mystery, and perhaps a hint of menace. On listening to the classic 14:31, I found myself walking on a desolate beach under grey skys that evoked a forever cloudy day. Nothing around me moved, as if it were all frozen in time. In looking to the sea, I saw waves that did not travel, waves staying eternally at their break, always about to fall, but never moving. Stark cliffs dwarfed me when looking to the land. Small crab and snail-like creatures skittered across the beach, sometimes moving, sometimes going very slowly, but usually frozen mid-step, never reaching the ground. Abormally transparent bubbles slowly floated out of the ground, freezing any creature that travelled into one, the movement only resuming when it eventually (very slowly) passed. The ticking was almost like the world fighting the clock, the second hand ticking back into the same place with every moment that passed. On looking at my watch, I saw that the time was 14:31. It never changed; that time was eternal. Beautiful.

  254. Spicelab - A Day on Our Planet

  255. Year: 1994

  256. Electronic genre: Classic Trance/Ambient Trance

  257. Difficulty Level: 3/10

  258. What the Critics Said:
  259. Discogs rating: 4.6/5
  260. That's really it. This album is an unknown.

  261. My "review":
  262. The first wave of trance was perfected here, and everything you'd expect from such a thing can be found. Sci-fi samples, long ambient washes, an unqeildy length to the tracks, laser twerps, catchy melodies, unpredictable structre, and acid, acid, acid. However, A Day on Our Planet really transcends all that, to be something far greater, something far more beautiful. Lieb (as in Oliver Lieb) has tapped into some otherworldy, alien atmosphere with the 4 tracks contained here, he's managed to produce something not of the Earth. There is no rave reference point to this trance (something that really can't be said for most other trance, regardless of what most trancEaddicts will tell you): the beats are momentum (and you couldn't dance to a lot of this anyway), this album is a fast-moving journey through another universe.

  263. The Future Sound of London - Lifeforms

  264. Year: 1994

  265. Electronic genre: Downtempo/Ambient/Ambient Trance

  266. Difficulty Level: 3/10

  267. Underworld - Dubnobasswithmyheadman

  268. Year: 1993

  269. Electronic genre: Progressive house/Techno/Trance

  270. Difficulty Level: 3/10

  271. Farben - Textstar

  272. Year: 2002

  273. Electronic genre: Microhouse

  274. Difficulty Level: 6/10

  275. Biosphere - Substrata

  276. Year: 1998

  277. Electronic genre: Ambient

  278. Difficulty Level: 5/10

  279. James Holden - Balance 005

  280. Year: 2003

  281. Electronic genre: Neo-trance/Progressive house/Progressive Trance/IDM

  282. Difficulty Level: 3/10

  283. m83 - Dead Cities, Red Seas, Lost Ghosts

  284. Year: 2003

  285. Electronic genre: IDM/Ambient

  286. Difficulty Level: 3/10

  287. Manuel Gottsching - E2-E4

  288. Year: 1981

  289. Electronic genre: Minimalism/Trance

  290. Difficulty Level: 5/10

  291. What the Critics Said:
  292. All Music Guide: 5/5
  293. Pitchforkmedia: 79th best album of the 80s
  294. Blow Up: On the 600 essential albums list
  295. Discogs: 4.7/5
  296. 5/5

  297. My "review":
  298. The instant E2-E4 hit the shelves, trance and techno existed. While this did not have acid, or breakdowns, or even the TR-909, the atmosphere and groove of the styles were birthed right here: 4 years before anyone else thought of it.
  299. Surprisngly, this is all managed with a single 59-minute track, with a single melodic centre. Unlike other epic 59 minute albums, or any later trance or techno music, for that matter, with plenty of songs and changes, this is all managed in one track, with just one main melody (although with plenty of variations), without ever growing tiring. It never feels like Gottsching is trying as hard as he can to fill the 59 minutes, it's more like he simply wanted breathing room to let all of his ideas slowly develop out of each other: as if he wanted to let the music blossom at it's own pace from his initial seed of silence, in the same way as 70's minimalism. In fact, it was almost as if Gottsching simply took minimalism, and made it groove-oriented. I'd even go so far as to say that this is the missing link (and it is missing: E2-E4 is all but forgotten) between modern EDM and 60's/70's minimalism.
  300. And all that without MIDI. (In other words, if Gottsching played the first 57 minutes of E2-E4, then fucked up on the last bar, he'd have to go back and replay the entire first 57 minutes again. No wonder electronic music took so long to catch on).

  301. Bjork - Homogenic

  302. Year: 1997

  303. Electronic genre: IDM/Electronic pop/Glitch

  304. Difficulty Level: 4/10

  305. Aphex Twin - Selected Ambient Works 1

  306. Year: 1993

  307. Electronic genre: Ambient techno/Ambient Trance

  308. Difficulty Level: 4/10

  309. Broken Social Scene - You Forgot it in People

  310. Year: 2002

  311. Electronic genre: Indie pop/Indie rock/electronic rock

  312. Difficulty Level: 3/10

  313. While not fully electronic, still very much in the aesthetic. (more info coming later)

  314. Michael Mayer - Immer

  315. Year: 2002

  316. Electronic genre: Microhouse/Tech-house

  317. Difficulty Level: 5/10

  318. The KLF - The White Room

  319. Year: 1991

  320. Electronic genre: Stadium House/Anthem trance/Eurodance

  321. Difficulty Level: 1/10

  322. Herbert - Around the House

  323. Year: 1998

  324. Electronic genre: House/Microhouse/Acid jazz

  325. Difficulty Level: 3/10

  326. Aphex Twin - The Richard D. James Album

  327. Year: 1996

  328. Electronic genre: IDM/Drill n Bass

  329. Difficulty Level: 6/10

  330. Luomo - Vocalcity

  331. Year: 2000

  332. Electronic genre: Microhouse/Deep House/Minimal

  333. Difficulty Level: 5/10

  334. Tim Hecker - Radio Amor

  335. Year: 2003

  336. Electronic genre: Glitch/Ambient

  337. Difficulty Level: 7/10

  338. Lee Perry - Revolution Dub

  339. Year: 1975

  340. Electronic genre: Dub/Reggae/Sound Collage

  341. Difficulty Level: 5/10

  342. Tuu - One Thousand Years

  343. Year: 1994

  344. Electronic genre: Ambient/Tribal

  345. Difficulty Level: 4/10

  346. Burial - Burial

  347. Year: 2006

  348. Electronic genre: Dubstep

  349. Difficulty Level: 4/10

  350. Amon Tobin - Bricolage

  351. Year: 1997

  352. Electronic genre: Abstract hip-hop

  353. Difficulty Level: 3/10

  354. Burial - Untrue

  355. Year: 2007

  356. Electronic genre: Dubstep/ambient

  357. Difficulty Level: 3/10

  358. Mouse on Mars - Iaora Tahiti

  359. Year: 1995

  360. Electronic genre: IDM/Ambient/Dub

  361. Difficulty Level: 5/10

  362. Daft Punk - Homework

  363. Year: 1997

  364. Electronic genre: French house/Electro

  365. Difficulty Level: 1/10

  366. Neu! - Neu!

  367. Year: 1975

  368. Electronic genre: Krautrock/Psychedilic/Early Synth

  369. Difficulty Level: 6/10

  370. Infected Mushroom - Classical Mushroom/BP Empire

  371. Year: 2000/2001

  372. Electronic genre: psytrance/goa trance

  373. Difficulty Level: 4/10

  374. Terry Riley - A Rainbow in Curved Air

  375. Year: 1969

  376. Electronic genre: Minimalism

  377. Difficulty Level: 4/10

  378. Kraftwerk - Computer World

  379. Year: 1981

  380. Electronic genre: Electro

  381. Difficulty Level: 3/10

  382. Art of Trance - Platipus Beginner's Guide

  383. Year: 1999

  384. Electronic genre: Acid Trance/Classic Trance/Anthem trance

  385. Difficulty Level: 2/10

  386. The Fiery Furnaces - Blueberry Boat

  387. Year: 2004

  388. Electronic genre: Indie rock/Electronic rock

  389. Difficulty Level: 7/10

  390. Bonobo - Animal Magic/Dial m For Monkey

  391. Year: 2000/2003

  392. Electronic genre: Abstract hip-hop/Lounge/Ambient/Downtempo

  393. Difficulty Level: 3/10

  394. Banco De Gaia - Last Train to Lhasa

  395. Year: 1994

  396. Electronic genre: Ambient/Ambient Trance/Progressive House/Worldbeat/Ambient Breaks

  397. Difficulty Level: 3/10

  398. Akufen - My Way

  399. Year: 2002

  400. Electronic genre: Microhouse/Funky house/Dub Techno/Ambient

  401. Difficulty Level: 5/10

  402. Boards of Canada - Music Has the Right to Children

  403. Year: 1999

  404. Electronic genre: IDM/Ambient

  405. Difficulty Level: 5/10

  406. Ellen Allien - Berlinette

  407. Year: 2003

  408. Electronic genre: Techno/Electro

  409. Difficulty Level: 3/10

  410. The Books - Thought for Food

  411. Year: 2002

  412. Electronic genre: Sound Collage/Indie Electronic

  413. Difficulty Level: 4/10

  414. Kompakt - Total 3/Total 4

  415. Year: 2001/2002

  416. Electronic genre: Microhouse/techno/minimal/tech-house/house/Dub techno/deep house

  417. Difficulty Level: 3/10

  418. Four Tet - Rounds

  419. Year: 2003

  420. Electronic genre: Glitch/Acid Jazz/Abstract hip-hop/IDM

  421. Difficulty Level: 4/10

  422. Biosphere - Shenzhou

  423. Year: 2002

  424. Electronic genre: Ambient

  425. Difficulty Level: 5/10

  426. Leftfield - Leftism

  427. Year: 1995

  428. Electronic genre: Progressive house

  429. Difficulty Level: 3/10

  430. The Orb - U.F. Orb

  431. Year: 1992

  432. Electronic genre: Ambient House/Ambient/Dub

  433. Difficulty Level: 3/10

  434. Orbital - The Green Album/Orbital 2

  435. Year: 1991/1992

  436. Electronic genre: Rave/Techno/Ambient techno/Classic Trance/Ambient trance/Anthem trance/Acid

  437. Difficulty Level: 3/10

  438. Tangerine Dream - Phaedra

  439. Year: 1974

  440. Electronic genre: Ambient/Krautrock

  441. Difficulty Level: 7/10

  442. Herbert - Bodily Functions

  443. Year: 2001

  444. Electronic genre: Jazz/Glitch/Deep House/Nu-jazz

  445. Difficulty Level: 3/10

  446. Autechre - Amber

  447. Year: 1994

  448. Electronic genre: IDM/Ambient

  449. Difficulty Level: 6/10

  450. Oribtal - In Sides

  451. Year: 1996

  452. Electronic genre: Trance/Ambient trance/Ambient breaks

  453. Difficulty Level: 4/10

  454. Massive Attack - Mezzanine

  455. Year: 1998

  456. Electronic genre: Trip-hop

  457. Difficulty Level: 4/10

  458. Shpongle - Are you Shpongled?

  459. Year: 1998

  460. Electronic genre: Ambient Psy/Tribal

  461. Difficulty Level: 5/10

  462. Richie Hawtin - DE:9 Closer to the Edit/DE:9 Transitions

  463. Year: 2001/2005

  464. Electronic genre: Minimal Techno/Microhouse/Hard Techno/Ketaminimal

  465. Difficulty Level: 6/10

  466. Hallucinogen - Twisted

  467. Year: 1995

  468. Electronic genre: Psytrance/Goa Trance

  469. Difficulty Level: 4/10

  470. The Prodigy - The Fat of the land

  471. Year: 1997

  472. Electronic genre: Big Beat/Breakbeat/Rave

  473. Difficulty Level: 2/10

  474. Jean Michel Jarre - Oxygene

  475. Year: 1976

  476. Electronic genre: Proto-trance/Early Synth

  477. Difficulty Level: 3/10

  478. Throbbing Gristle - The Second Annual Report

  479. Year: 1977

  480. Electronic genre: Industrial

  481. Difficulty Level: 10/10

  482. This album is really groundbreaking, it was literally the instant industrial music was invented (Well, there were 3 albums before by the same artist, but they were in the same year and they weren't as good).
  483. This album makes me really queasy everytime I listen to it, moreso than anything else I've ever heard. Hearing The Second Annual Report is like watching someone being hung, drawn, and quartered: it's painful even to see, you're horrified, but you just can't turn away, even if it makes you vomit.
  484. That doesn't really make this a great listen, but this is great art, and it is important (ie industrial, EBM, industrial rock, trance, acid house, etc. would not exist without it). And at least interesting to listen to: its the ultimate indulgence of morbid curiousity. Recommended to fans of "Hostel" and "the Texas Chainsaw Massacre."

  485. Air Liquide - The Increased Difficulty of Concentration

  486. Year: 1994

  487. Electronic genre: Ambient/Classic Trance/Acid/Ambient House

  488. Difficulty Level: 4/10

  489. Ninja Tune - Zen Retrospective of Ninja Tune

  490. Year: 2004 (but really, 1990-2004)

  491. Electronic genre: Abstract hip-hop/Nu-jazz/Downtempo/Atmospheric Jungle

  492. Difficulty Level: 3/10

  493. The Field - Sun & Ice

  494. Year: 2006

  495. Electronic genre: Neo-trance

  496. Difficulty Level: 2/10

  497. Boards of Canada - Geogaddi

  498. Year: 2000

  499. Electronic genre: IDM/Ambient

  500. Difficulty Level: 6/10

  501. Sasha - Xpander EP

  502. Year: 1999

  503. Electronic genre: Progressive trance/Progressive house/Progressive breaks

  504. Difficulty Level: 2/10

  505. Ricardo Villalobos - The Au Harem D'Archimede/Achso EP

  506. Year: 2004/2006

  507. Electronic genre: Minimal techno/dub techno/ketaminimal/Microhouse

  508. Difficulty Level: 8.5/10

  509. Legowelt - The Classics 1999-2003

  510. Year: 2003

  511. Electronic genre: Electro/Electro-house

  512. Difficulty Level: 2/10

  513. Perlon - Superlongevity series

  514. Year: 1999-2006

  515. Electronic genre: House/Minimal/Microhouse/Tech-house/Minimal techno

  516. Difficulty Level: 7.5/10

  517. Fennesz - Endless Summer/Venice

  518. Year: 2001/2004

  519. Electronic genre: IDM/Ambient/Glitch/Avante-garde electronica/shoegaze

  520. Difficulty Level: 4/10

  521. The Orb - Orblivion

  522. Year: 1997

  523. Electronic genre: Ambient House/Sound Collage/IDM/breaks

  524. Difficulty Level: 4/10

  525. Giorgio Moroder - From here to Eternity

  526. Year: 1977

  527. Electronic genre: Italo-Disco/Early Synth/Mutant Disco

  528. Difficulty Level: 3/10

  529. Morton Subotnick - Electronic Works Volume 1

  530. Year: 1967

  531. Electronic genre: Musique Concrete/Avante-Garde

  532. Difficulty Level: 8/10

  533. Portishead - Dummy

  534. Year: 1994

  535. Electronic genre: Trip-hop

  536. Difficulty Level: 4/10

  537. L.S.G. - Into Deep

  538. Year: 2000

  539. Electronic genre: Ambient trance/Tech-trance/Trance

  540. Difficulty Level: 3/10

  541. Daft Punk - Discovery

  542. Year: 2001

  543. Electronic genre: French house/Funky house/Electro

  544. Difficulty Level: 1/10

  545. Terry Riley - In C

  546. Year: 1968

  547. Electronic genre: Minimalism

  548. Difficulty Level: 6/10

  549. Tricky - Maxinque

  550. Year: 1995

  551. Electronic genre: Trip-hop

  552. Difficulty Level: 4/10

  553. Radiohead - Amnesiac

  554. Year: 2002

  555. Electronic genre: Glitch pop/Indie rock/Electronic rock

  556. Difficulty Level: 4/10

  557. Aphex Twin - Selected Ambient Works 2

  558. Year: 1994

  559. Electronic genre: Ambient/Dark Ambient

  560. Difficulty Level: 9/10

  561. Spicelab - Lost in Spice

  562. Year: 1993

  563. Electronic genre: Classic trance/Acid trance

  564. Difficulty Level: 4/10

  565. Dominik Eulberg - Kreucht & Freucht

  566. Year: 2005

  567. Electronic genre: Ketaminimal/Minimal/Neo-trance/Microhouse

  568. Difficulty Level: 5/10

  569. Carl Craig - Landcruising

  570. Year: 1995

  571. Electronic genre: Detroit Techno

  572. Difficulty Level: 6/10

  573. MFS - Tranceformed from Beyond

  574. Year: 1992

  575. Electronic genre: Classic Trance/Techno/Tech-trance

  576. Difficulty Level: 4/10

  577. Eat Static - Implant

  578. Year: 1994

  579. Electronic genre: Psytrance/Acid Techno

  580. Difficulty Level: 5/10

  581. Plaid - Notforthrees

  582. Year: 1997

  583. Electronic genre: IDM/electro

  584. Difficulty Level: 6/10

  585. Honourable Mentions:

  586. Main Street Records - Rounds One Through Five

  587. Year: 1999 (but really, 1993-1999)

  588. Electronic genre: House/Dub

  589. Difficulty Level: 3/10

  590. DJ Tiesto - In Search of Sunrise 1, 2, and 3; Magik 1 to 7; and Nyana CD 2

  591. Year: 2000/2001

  592. Electronic genre: Trance/Epic trance/Anthem trance/Progressive trance/Progressive house/Ambient trance/Ibiza trance

  593. Difficulty Level: 1/10

  594. While not masterpieces of DJing by any means, these albums are nonetheless on the list simply because they perfectly capture a time period and genre. In other words: these are amazing collections: great sets of tracks. Tiesto is a very weak DJ lacking any kind of artfulness, skill, or subtlety (this guy was number one for 3 years, and he doesn't even mix by key), and the mixing on these sets are nothing special, as the tracks are all anthems and club masterpieces of their times, but what you are getting when you listen to these 11 mixes is literally a "best of collection" of second wave trance. Having heard these mixes, you've pretty much heard everything second-wave trance ever did, and ever will do. You've heard an entire genre of music. But couldn't you get this with any other trance DJ? Not exactly. It is precisely Tiesto's artlessness that makes these mixes such perfect summaries of second-wave trance: Tiesto brings no personality and style to the mixing (doing little more than beatmatching) or tracklisting (never stepping outside of second-wave trance), thus leaving the music to be completely free of influence. It is exactly Tiesto's talentlessness (aka no personality or mixing skill) and business sense (aka he KNOWS what the anthems are) that make these mixes the penultimate second-wave trance.

  595. Brian Eno & David Byrne - My Life in the Bush of Ghosts

  596. Year: 1981

  597. Electronic genre: Sound Collage/Indie Rock

  598. Difficulty Level: 4/10

  599. Etienne De Crecy - Super Discount

  600. Year: 1996

  601. Electronic genre: French House/Deep House

  602. Difficulty Level: 2/10

  603. 808 State - Utd. State 90

  604. Year: 1990

  605. Electronic genre: Rave/Acid house/House/Breaks

  606. Difficulty Level: 3/10

  607. Paul Oakenfold - Tranceport

  608. Year: 1998

  609. Electronic genre: Progressive trance/Anthem trance

  610. Difficulty Level: 1/10

  611. Man With No Name - Moment of Truth

  612. Year: 1996

  613. Electronic genre: Psytrance/Goa trance

  614. Difficulty Level: 5/10

  615. Paul Van Dyk - 45 RPM/The Green Valley EP

  616. Year: 1994

  617. Electronic genre: Classic trance/anthem trance/epic trance/progressive trance/ambient trance/rave

  618. Difficulty Level: 2/10

  619. Karlheinz Stockhausen - Hymnen

  620. Year: 1996

  621. Electronic genre: Musique-Concrete

  622. Difficulty Level: 10/10

  623. Nurse With Wound - Homotopy to Marie

  624. Year: 1982

  625. Electronic genre: Industrial/Musique-Concrete/"Surrealist"

  626. Difficulty Level: 10/10

  627. William Orbit - Strange Cargo 3

  628. Year: 1993

  629. Electronic genre: Ambient trance/Ambient house/Ambient/Progressive house

  630. Difficulty Level: 4/10

  631. Philip Glass - Music In 12 Parts

  632. Year: 1974

  633. Electronic genre: Minimalism

  634. Difficulty Level: 3/10

  635. Oval - Wohnton

  636. Year: 1993

  637. Electronic genre: Glitch/IDM

  638. Difficulty Level: 5/10

  639. Juno Reactor - Beyond the Infinite

  640. Year: 1995

  641. Electronic genre: Psytrance/Goa trance

  642. Difficulty Level: 5/10

  643. Autechre - Tri-Repetae

  644. Year: 1995

  645. Electronic genre: IDM

  646. Difficulty Level: 7/10

  647. DJ Tiesto - Forbidden Paradise 3

  648. Year: 1995

  649. Electronic genre: Classic trance/Acid Trance/Progressive trance/Melodic Gabber/Trancecore

  650. Difficulty Level: 4/10

  651. Sasha & Digweed - Northern Exposure 2/Northern Exposure: Expeditions

  652. Year: 1997/1999

  653. Electronic genre: Techno/Progressive trance/Progressive house/Classic trance/Anthem trance/Breaktrance

  654. Difficulty Level: 4/10

  655. Pink Floyd - The Dark Side of the Moon

  656. Year: 1973

  657. Electronic genre: Psychedelic/Progressive rock

  658. Difficulty Level: 3/10

  659. This is the cusp of electronic and rock music, the line doesn't get any thinner or more obscured than it is here. Thing is though, while there are going to be people complaining about having this album in an electronic music list, had I not put it in, I would get just as many complaining about it not being the list.
  660. But whatever, this is a great album, and I wouldn't be honest to not have it here somewhere. This is psychedelic at its best (in other words, its VERY electronic, if still rock-oriented).

  661. Black Dog Productions - Bytes

  662. Year: 1993

  663. Electronic genre: Classic Trance/IDM

  664. Difficulty Level: 8/10

  665. Robert Rich - Somnium

  666. Year: 2001

  667. Electronic genre: Ambient

  668. Difficulty Level: 3/10

  669. I really had a change of heart on this one, thanks to lukeprog for suggesting this.

  670. Meat Beat Manifesto - 99%

  671. Year: 1990

  672. Electronic genre: Jungle/Breakbeat/Rave

  673. Difficulty Level: 4/10

  674. BT - IMA

  675. Year: 1995

  676. Electronic genre: Progressive house/Progressive trance

  677. Difficulty Level: 3/10

  678. LTJ Bukem - Journey Inwards

  679. Year: 2000

  680. Electronic genre: Atmospheric Jungle

  681. Difficulty Level: 3/10

  682. New Order - Substance
  683. Specifically, CD 2.

  684. Year: 1987

  685. Electronic genre: Synthpop

  686. Difficulty Level: 1/10

  687. This album used to be on the upper parts of the list, but it's enjoyment deteriorates really quickly, and they massively overuse the "Blue Monday" beat.

  688. Some of these may be re-ordered before the end. I don't know if I'd really call Autobahn the best electronic album of all time. I seriously don't listen to or enjoy it more than Endtroducing or Music has the Right to 18 Musicians or Three Organic Experiences, but none of those feel right as number one either. [I also really don't think Can's albums are the second best].

  689. Albums to be listened/under consideration:
  690. Cybotron - Clear
  691. Kraftwerk - Trans Europa Express
  692. Prefuse 73 - Vocal Studies + Uprock Narratives
  693. BT - ESCM
  694. Paul Van Dyk - Seven Ways
  695. Sasha - The Qat Collection
  696. MJ Cole - Sincere (apparently this is indisputably the best of UK Garage. The problem here is that UK Garage is a hybrid genre mixing the absolute worst aspects of New Swing Jack Radio RnB, Speed Garage, and trip-hop. This always happens with hybrid genres (the exception is microhouse and its many offspring, [anything that hot is going to have a lot of sex, and sex produces babies, so of course microhouse has many offspring] which exist in a tiny creative bubble shielding them from all hybridization cliches). Why artists do this, I will never know, since even the tiniest speck of logic would dictate that it makes more sense to join the BEST aspects of two genres. But I really like MJ Cole's track "Sincere", so maybe the album has hope too. I guess I'll know when I get a hold of it.
  697. Dntel - Life is Full of Possibilities
  698. µ-Ziq - [explore artist]
  699. Fluke - [explore artist]
  700. Matmos - Matmos
  701. Manitoba - Up in Flames
  702. Animal Collective - Feels
  703. Animal Collective - Strawberry Jam

  704. I may make a "not good enough" albums list. It would take up WAY too much space to put it with the accepted albums.

  705. Any recommendations are appreciated at this point, to be added to the "albums to consider" list.

I'm thrilled that you have begun this list!

I'll probably be commenting a lot, but:

I'm pretty sure Endtroducing was not the first samples-only album as you and Guiness World Records claim. Avantgarde composers had been doing this for decades; perhaps most notably Stockhausen with Hymnen (1967), which consists entirely of samples of national anthems, electronically mutated and intermodulated, etc. In the pop music world, Grandmaster Flash and the Furious Five mixed together Adventures on the wheels of Steel, composed entirely of samples. I will admit it is better than any of its predecessors.

Yeah, that seemed a little odd to me too. I mean, 1996?

As for the Grandmaster Flash album, that is ommitted by the Guiness book because of its use of original voices (the instrumentals in hip-hop were almost entirely samples until a certain date, but the voices take it out of the category of "fully sampled").

Also, the Stockhausen and other tape pioneers music doesn't apply, as, while their sound is taken from another source, their sounds aren't technically exactly samples, as a sample by precise definition is stolen sound that is unchanged, besides the context. (Besides this, on Hymnen, Stockhausen adds quite a few electronic sounds of his own, and actually performs the distorted anthems with live musicians).

So, I guess it's sort of exploiting technicalities to call it the first sampled album. But I'd say it doesn't matter that much anyway: it's definitely better than its predecessors, and still one of the best albums ever made.

You might find this post of mine interesting while contstructing this list.

What does E2-E4 have over Rainbow in Curved Air?

I highly recommend Robert Rich's Somnium.

E2-E4 created the trance and techno groove.

A Rainbow in Curved Air will actually be later on the list, as I do love it and think it's a very important album, but E2-E4 was really important to the creation of modern EDM, and way ahead of its time.

I'll have to check out Somnium, thnx.

I'm going to keep nitpicking. Remember that I wouldn't bother spending so much time here if I didn't like your list so much! I'm always trying to provoke discussion with someone as knowledgeable and affable as yourself.

I think 94 Diskont is a too-long, too-indulgent use of the glitch, which was better used on Oval's previous two albums - which isn't too say I don't enjoy 94 Diskont. Also note that glitch music was the idea of two avantgarde composers long before Oval discovered it and started using it to create a new brand of IDM.

Czeck composer Milan Knizak wrote "Destroyed Music" using damaged vinyl records in the 70s, and Japanese composer Yasunao Tone wrote Music for Two CD Players in 1982, which used CD player errors to create a random music of glitch sounds. And turntabalist and composer Christian Marclay has been using damaged records in his performances since the 70s.

And the idea of purposely "damaging" music and sounds as an artistic aesthetic is certainly nothing new. For example, Faust (1971).

And, why choose Soon Over Babaluma instead of Future Days?

On Oval's previous albums, Wohnton has a later place on the list. Why is 94diskont the highest? I don't know; it just kind of works for me in the same way all great ambient music does: it becomes its own self-enclosed musical world that has its own distinctive atmoshere. While Wohnton is great too, I like it for a toally different reason (more like the way I like Neon Golden, although Neon Golden beats it by miles).

I'll check out Faust and Music for Two CD players, for sure; I'd actually never heard of them. I didn't know that. Although, I'm guessing Oval was the Kraftwerk of the glitch genre, then: taking an otherwise impossible sound, and streamlining it for the public.

I just like Soon Over Balaluma more. I also find it has more of that worldbeat sound (that I talked about in the review) that became so musically important later on.

Sorry, the post was supposed to read:

Why is 94diskont the highest? I don't know; it just kind of works for me in the same way all great ambient music does: it becomes its own self-enclosed musical world that has its own distinctive atmoshere. While Wohnton is great too, I like it for a totally different reason (more like the way I like Neon Golden, although Neon Golden beats it by miles). Wohnton actually has a later place on the list.

I'll check out Faust and Music for Two CD players, for sure; I'd actually never heard of them. I didn't know that. Although, I'm guessing Oval was the Kraftwerk of the glitch genre, then: taking an otherwise impossible sound, and streamlining it for (sort of) the public.

As for Future Days vs. Balaluma, I just like Soon Over Babaluma more. I also find it has more of that worldbeat sound (that I talked about in the review) that became so musically important later on.

BTW, here's a cool, short Christian Marclay documentary.

The following should be added, without question:

Faust-Faust (1971)...should be at or near the top of the list. I feel this and Irrlicht are 1 & 2, your decision on which one tops the other.

Irrlicht-Klaus Schulze (1972)...should be at or near the top of the list.

Piper at the Gates of Dawn-Pink Floyd
...should be near the top. I say this one since you have DSOTM on there, and this is much better. Note: It takes some spins to get used to, as it is quite an odd mixture, and rather loopy--but brilliant all the same.

Don't think I saw this one:

Millions Now Living Will Never Die-Tortoise (1996)...should easily rank high on the list.

Anyway, that's what I can think of for now. I'll let you know if I have any more recommendations. Your coverage has been quite extensive thus far, so it's difficult to find missing ones.

Great list and great reviews!

Well, Pink Floyd played a wide variety of music in their career. DSOTM is a much more electronic album, whereas I would firmly classify PATGOD as psychedelic rock. Just because they're both Pink Floyd doesn't mean they're the same style of music. As for the quality of each album, well, I won't comment on that because it seems irrelevant.

Obviously, they're clearly different albums. Based on the criteria that seems to be being followed, Piper deserves a nod for sure.

Do you really think so? To be fair, I'm unfamiliar with many of these artists, but from what I know, the music on here is much more electronic than Piper at the Gates of Dawn by far. There's nothing on PATGOD that even comes close to being as electronic as, for example, "On the Run" from DSOTM. After all, darktremor refers to DSOTM as pushing the limits of what can be called electronica, so PATGOD almost certainly crosses the line into rock. Sure, some PATGOD tracks are spacier and more experimental, like "Interstellar Overdrive," but I would still place that firmly in the psychedelic rock category. I mean, really, putting PATGOD on this list makes about as much sense to me as putting Electric Ladyland on it.

I'm kinda confused, too, about what darktremor's criteria for "electronic music" are, considering he's got Music for 18 Musicians and Neu! alongside Music for Airports and Northern Exposure. Personally, I'd rather simplify and skip the first two, along with Millions Now Living and, certainly, Piper. But it's his list and I'm enjoying the commentary.

I wonder if Peter Gabriel's Passion would fit the bill?

Yeah, agreed, Music for 18 Musicians in not electronic at all.

But it's so important to electronic music's development, and such a good album, that I decided to qualify it anyway. (Also, it utilizes a compositional technique almost exclusively associated with electronic music: that of generative music [although he actually COMPOSED it, unlike actual generative music, which creates itself by having multiple patterns that don't line up and play electronically. Steve Recih's piece has melodic parts that don't line up, but this is actually done on purpose.]). So it's important to electronic music, and uses an electronic technique without actual electronics, so I decided to stop debating whether it deserved a spot, and just do it.

For example, "The Vegetable Orchestra" is widely regarded as electronic music, desite no electronics being involved (because the percussive sound and atmosphere of minimal techno is recreated using vegetables). I think 18 Musicians falls strictly into the same category.

I've never really listened to Peter Gabriel's Passion, I'll check it out, definitely.

I really like what you're doing with this list. Keep at it.

Yes, you had already explained your inclusion of Music for 18 Musicians well. I would trace the origin of truly-composed generative music to In C, though Music for 18 Musicians is superior. Also see Reich's Early Works, especially "Come Out." And of course I Am Sitting in a Room. Actually, don't listen to I Am Sitting in a Room, just note its conceptual importance.

Have you heard AMMusic and Generative Themes?

I guess I just can't tell what sets Three Organic Experiences apart from a dozen other albums like it, but to each his own. This list has a personal flavor to it that is very endearing.

Amnesiac is my favorite Radiohead album. Also see Greenwood's solo work, Body Song. A couple more, as if you'd ever have time to listen to everything I'm point you to:

Skylab - #1 (trip-hop)
Spring Heel Jack - Disappeared (jungle, sorta)
Squarepusher Hard Normal Daddy (jungle, sorta)
Giorgio Moroder From Here to Eternity (disco)

+adds all suggestions. Thanks very much.

I don't know makes Three Organic Experiences work so well for me. I really can't think of any other album with the same atmosphere it has, but I agree, it just really seems to utilize the same parts in different ways (albeit perfectly, IMO). Although the use of a huge number of traditional instruments as ambient devices is a little used technique, and the amount of momentum (without the actual feeling of speed) and density present is also rare in ambient. To really appreciate it though, you need to sleep with it playing in the background. Most ambient albums either: a)have at least some elements that interrupt sleep (such as disturbing passages, and awakening noises like loud booms, obvious voices, or industrial sounds.), or b)are dull, flat, uninspired, and lacking any artistic integrity. Three Organic Experiences is the only album I have that has neither problem (although some come close, like some Biosphere works [esp. Substrata], and Tim Hecker's Radio Amor). It's hard to find music that lulls one to sleep without being boring.

I've actually heard Skylab - #1, and totally forgot about it when considering the list. Although I don't think it will make it on ...maybe in honorable mentions. It has its problems (ie sounding way too much like a slower, less-inspired "The Orb" that takes itself more seriously). Still, it's a pretty good album.

As for I Am Sitting in a Room, I erased it after one listen. My reaction was basically "yeah, this is interesting...I can see why this is important...I'm bored." And on top of that, Steve Reich did something very similar 4 years before with "It's Gonna Rain" (and probably invented generative music, right there). You're right, conceptually important, not worth the listen.

Glad you enjoy the list :) Thanks, that's very kind of you.

You may find that Somnium meets (a) and (b). It does for me.

Lol, that's exactly what I did with I Am Sitting in a Room. Have you heard Reich's other process-music for ensemble (which is more fun that his earlier process music), like Drumming or Music for a Large Ensemble? He has lots of great work, though I agree that Music for 18 Musicians is his best.

For more Klaus Schulze, I highly recommend Cyborg, Timewind, and the first few Tangerine Dream albums.

From what I've heard so far, some of Somnium has way too many dark overtones. Some of it sounds like being trapped inside Hell's sleep lab: the sort of thing that would wake me up in a cold sweat. It's not that it scares me, I'm just really suggestible in my sleep and need pleasant sounds to lull me off (plus that sort of thing REALLY distresses my girlfriend, making it impossible for me to sleep). There lies the issue: it's hard to make pleasant ambient sounds that aren't aural anaesthetic. But I'll have to break it in a little more. Enough of it might be pleasant enough that I can still like it/sleep with it. (note: I find dark ambient a pointless genre, except for horror movies). I may put one of the CDs on, or I may have misjudged it, since I've only given it a "cursory listen" so far (ie looked at tiny portions of each track), and a lot of "spacier" ambient sounds much darker than it really is on a cursory listen. It'll take some time though, since it's 7 hours long.

I've heard Drumming and Music for a Large Ensemble, but neither of them really grabbed me as much as his brilliant "Music for 18 Musicians." Although they were intriguing, and what I'd call "pretty good."

I'll have to get those Tangerine Dream albums.

In response to AJDaGreat's post on 09/13/06 at 10:17 PM:

PATGOD is a great album, and I would put it on, but it has nothing at all to do with electronic music. It doesn't use any techniques associated with electronic, it didn't innovate anything later used by electronic or (directly) inspire any later electronic artists, it wasn't mimicing current electronic ideas (a la Vegetable Orchestra), and it didn't even really involve the use of any electronics. Agreed, it's psychedelic rock.

Although it's a good suggestion, for sure: it really is a great album.

You're right about PATGOD, it is more psychadelic rock than anything. I wouldn't personally put it on a an electronic list such as this, but it seemed to me that it wasn't stretching too many boundaries considering the inclinations of Astronomy Domine, Interstellar Overdrive, and other moments across the album. I mean, didn't it introduce space music, or was there something earlier (feel free to speak up Luke, I haven't done my research on this one). It is a stretch, but once I saw You Forgot It In People, Music For 18 Musicians, on there I figured I'd go for broke. I thought it's chances were 50/50 so I'm not surprised if it were rejected which seems like it will be.

No, I wouldn't call it rejecting your suggestion: I just went the other way with kinda made me think about the fact that it IS an electronic list more than anything: it got me to remove the Tortoise entries and draw a precise line as to what qualifies. Although it is a great album, and I'd probably add it to a "best albums of all time" list.

And suggest anything that comes to mind! Don't think of it as "going for broke" or anything. Forgive the cliche, but there really aren't stupid suggestions. Everything makes me think, which helps make a better list. Your advice has seriously helped.

In response to AfterHours on 09/13/06 at 8:21 PM:

By the criteria I made the list on, Millions Now Living Should Never Die really should've been on there. You're right, it was a huge mistake to have missed out on it. However, I've decided to remove TNT entirely, for the same reason I didn't put PATGOD on: it really doesn't have anything to do with electronic. For that reason alone, I'm not adding Millions Now Living Should Never Die (since, you're right, it's really a better and more important album than TNT. Plus I have a huge soft spot for 23 minute tracks [see Oval, The Orb], and vibraphones). Although there are keyboards on the albums...I'm going to have to think about this one. I think I'm going to have to create a really clear definition of what electronic music means for this list, where the line is drawn.

I've never heard of Faust or Klaus Schulze: I'll get a hold of them as soon as I can. I'll give them 3 complete listens each before making any considerations (won't take as long as you'd think now that I'm studying and taking the bus again, many thanks to Steve Jobs for inventing iPods). But if they're as good as you say, I think they're guaranteed a spot on the list, for sure.

Thanks a lot for the suggestions! And glad you enjoy the list (so far) :)

As a note, Faust is among the most "challenging" albums ever made. It will probably take more than 3 listens to really 'get it', but considering your assumed background with krautrock and other musics, you may get it within 3.

I think, with your extensive background in electronic music, Irrlicht will be your cup of tea right away, and wouldn't be surprised at all if it becomes your favorite album of all time.

Both of them are astounding.

How about Loveless by My Bloody Valentine? I know it's shoegaze, and I don't think it used much, if any electronics, but it is also very much on the dance music side of things, especially the last track. What do you think? Is this too much of a stretch?

I'm really going to have to think about them.
As for the Faust album, I've given it one listen, and I really didn't see much in just seems OK. But that's what I expected with such a difficult album, I'll give it a few more tries. Same goes for Irrlicht...I thought the same thing as with Faust (I didn't love it right away). More listens for that one though too.

As for Loveless, it really doesn't qualify (as good as it is). Being dance alone doesn't make something electronic (plus I never find it very dancy) or even really related to electronic, as dance music didn't really use electronics at all until the late-70's, and to this day doesn't even require it (think of dance-rock).

Good points on Loveless. Not surprised at all by what you said. I couldn't honestly expect you to add it, especially with your latest, stricter means of judging what's added and what's not. It was just a passing thought.

Like I said with Faust, it's very challenging. It took me about 20 listens to really, really get into it, and about 10 more to begin falling deeply in love with it. I would think it will take you less, since you've delved much deeper into krautrock and electronic music than I have, but who knows? It even took Piero Scaruffi quite awhile to recognize it as a masterpiece.

As for Irrlicht, I'll be a bit surprised if it doesn't, at the very least, make its way into your top ten within the next 4 or 5 listens.

I've put Faust on Honorable mentions for now, but as I get used to it, its rating will probably go up. It's really hard to listen to right now though.

Completely understood.

On a similar note to Loveless, how about Screamadelica by Primal Scream?

I've never actually listened to it...I'll put it on my soulseek wishlist.

I suspect you'll like Ulrich Schnauss quite a bit.

I love Ulrich Schnauss. Especially that Far Away Trains Passing By album. I don't know what I was thinking not having him on the list (actually I do: I wasn't.).

This calls for drastic reordering.

Now we're talkin'!

A much deserced jump to the top 10 for Irrlicht and Faust! Keep going with these two: they both just get better and better with increased listens!

Agreed: although the ones around them are pretty amazing too...this will take some thought, and probably an incredible amount of shifting in the list.

Glad you enjoy Irrlicht and Faust and the other wonderful albums on this list. Your Faust review is especially good. And I continue to anticipate your additions and reorderings and reviews. A few more recommendations:
Allan Bryant - Space Guitars (my avant discovery of the month; an incredibly insightful early sampling album)
Constance Demby, especially Novus Magnificat
Calla - Calla
Philip Jeck, especially Surf
If My Life in the Bush of Ghosts counts, would Jon Hassell count? My favorite of his is Dream Theory in Malaya.

I'll definitely all of them. So far I've loved all the albums you've recommended...

Thanks for the compliment on the Faust review. :) Very kind of you.


Vas Deferens Organization - Transcontinental Conspiracy
Paul Haslinger - World Without Rules
Add N to X - On the Wires of Our Nerves
Air Liquide - The Increased Difficulty of Concentration

Whoa! Sorry about the length of time it took to respond.

I've actually downloaded the 4th one recently, it's very good, and will probably be added soon. As to the other 4, I'll add them to my wishlist now.

Thanks a lot, you're really helping me make this list comprehensive. (You might even be better suited to make a list like this than I am).

Thought you might like to hear this guy - KEEPBULLFIGHTING. He's local to Tallahassee (where I live) and it's pretty good stuff, not sure how you'd classify it. I'm completely hooked on '3 Brothers,' I've had it on repeat since yesterday (with little break).

That's very good. Looking forward to an album from those guys, if there ever is one.

I'd classify it as "downtempo."

Global Communication - 74:14 (cross between techno groove, new age, and Irrlicht)

Bran Van 3000 - Glee (pure candy)

Yeah, I've had 74:14 for a while, but I've had serious problems getting into it. I just can't figure it out. For some strange reason it just sounds really amateur to me, like a 12 years old twiddling with FruityLoops. I just don't get it (yet, but who knows, maybe I'll come around to it like I did with Faust and Irrlicht.

As for the Bran Van 3000 album, I've always avoided it a little because I have vague memories of hating hearing them on the radio when I was 11 or 12. Then again, that was when I was 11 or 12, and considered Limp Bizkit and Korn the epitome of artistic genius. I'll have to give them another shot (with more mature ears).

808 State
Christian Fennesz

I've got 808 State on there.

Fennesz is really good. I'm still considering "Endless Summer" for the list.


You should check out some releases from the Warp's Artificial Intelligence series of albums. They're all wonderful IDM/Intelligent Techno albums that brought some major innovations (and defined the IDM sound):
Polygon Window - Surfing On Sine Waves
Black Dog Productions - Bytes
B12 - Electro-Soma
F.U.S.E. - Dimension Intrusion
Speedy J - Ginger
Autechre - Incunabula (fantastic album, my favourite from Autechre)

Also, Kraftwerk's eponymous debut (Kraftwerk 1) is a very interesting piece of electronic music history. Especially flute-oriented krautrock masterpiece Ruckzuck, the first track on the lp. It's very hard to get, but worth finding. And listening, of course.

I've listened to a few of those. Black Dog - Bytes is already on the list.

I find the others just not...quite...there. Not bad though. Just not albums I listen to over and over again.

Your list has got some real gems.

couple of ideas on the down tempo side....

KLF - Chill Out
Pressence - All Systems Gone
Global Communication - 76.14
Massive Attack - Protection

And more upbeat....

Eye Q - Behind the Eye Vol 1
Renaissance 1 - Sasha & Digweed....if anything for its place in electronic history

I agree with you. Actually with these two:

KLF - CHILL OUT - Album that kickstarted the ambient dance subgenre really deserves the position on the list. Maybe it's not as good as Orb's OABTU, but without it OABTU wouldn't exist. And I mean that in literal way too, because some unused parts of Chill Out were later used on OABTU. All in all, Chill Out had a huge impact on Dr. Alex Paterson, ambient house and early 90-ies EDM in general.

RENAISSANCE - THE MIX COLLECTION - In my opinion, this is the greatest mix collection ever. But it was also very important for the development of progressive house. They used fresh tracks here (unlike on NE), mixing is perfect and the collection really represents the sound of that era. With this album, S&D established themselves as the leaders of the UK prog. house movement.

Really? Because the Orb was doing their thing in the late 80s (1989 was the year of their first single from OABTU - The strongest track on the album, actually: "A Huge Evergrowing Pulsating Brain taht Rules from the Centre of the Ultraworld"), and Chill Out didn't come out until 1990.

Plus, wasn't The Orb doing live shows in rave chill rooms as early as 1988?

Jimmy Kauty (the driving force of The KLF) used to be a member of the Orb, so I think the influence was either a)two-way, or b)from The Orb on to The KLF. Either way, The KLF definitely didn't cause OABTU, I think they're just tangentially related.

I'll give Rennaissance a full listen ASAP. I don't know if it's beat NE though, because NE's atmosphere is just so incredible.

I agree Renaissance: The Mix Collection is certainly worthy of being on the list, at least in honourable mentions. I would say it's about par with NE2 in how good the mix is but far more important. As you have NE2 and Expeditions on honourable mentions it certainly seems list worthy. I don't personally think it beats NE though. This is predominantly House based while NE is much much more trancey and Trance is better at taking the listener on a journey. Also by NE the pair seem to be doing more complex mixing between the tracks but that might just be me. Finally, at 44 songs the mix takes a very long time to get through in 1 go and so one cannot often listen to the whole thing through as a journey, it is almost too long for that though it is a good mix to dance to.

I don't think that Renaissance and Northern Exposure should be compared like that. Renaissance came out in 1994, when prog. house was still forming itself and it was the first "big" compilation. It featured tracks that created the genre (Song Of Life, Dirty), early classics (For What You Dream Of, Little Bullet) and amazing fresh tracks (She Holds The Key, V.O.A.T). They even threw in couple of non-prog. tracks for a good measure (Age Of Love, Go, Bombscare). I mean, with so much classics (that were actual at the time) you just can't go wrong. And that is the whole point of Renaissance - to make a compilation that truly represents the (cool new) sound of the era. And it made that point quite effectively. So it's safe to say that Renaissance was the most important (and the best in my opinion) album for prog. house, genre that is still pretty strong today, 13 years after Renaissance was released.

NE, on the other hand, had a much smaller impact on the EDM. They used pretty old tracks there (Kites was released 6 years before they put it on NE, I'm Free 5...) so it doesn't really capture anything. It's more like you're listening to fine mixed compilation of greatest hits from the first half of the decade. Anyway, it's still very good album, but it can't brought you the sound of that era like Renaissance can.

Well, it's true that their Peel session and AHEGPBTRFTCOTU appeared 2-3 months before Chill Out, but we are talking about albums here, and I am still right when I say that Chill Out was the first ambient house album (with a pretty unique concept). And it's safe to make an assumption that it had a huge influence on the whole "genre". That's like saying that Spooky's Gargantuan had a huge influence on prog. house, although first prog. house songs appeared months before its release.

I didn't know that Paterson and Cauty worked before The Orb, so that part about inpact on Dr. Alex Paterson was a pretty stupid assumption. I would edit it, but I can't anymore.

I don't care that much about influence anyway, I really just care if the album is good. After all, does anyone really remember the inventors of baroque music, or the composers that started the "romantic" period? No, but everyone has heard of Bach and Beethoven. So, I really need to listen to "Chill Out" a few more times before deciding.

I've never been able to get my hands on the whole Rennaissance collection, actually. I sort of pforgot about it after a while of not being able to get a hold of it.
I'll stick it back on my wishlist on soulseek.

As for Chill Out, yeah, I'll have to reconsider that one. It's really good.

Global Communication I've never liked that much. However, seeing the nubmer of people who think it should be on here, and the amazing critical response it got, I'll give it another try. I've tried it 3 times and I'm still not into it, though.

I don't like Massive Attack - Protection anywhere near as much as Blue Lines and Mezzanine.

Eye Q - Behind the Eye I've actually never heard of. I'll have to download it. Thanks!

If you do like the Eye Q album, then I'd also recommend Stellar Supreme by Cosmic Baby. It's early German trance (circa 1992)on the ambient tip.It's got this track called 'The Space Track'. Absolutely gorgeous.

By the way, currently listening to Nick Warren's Global Underground Shanghai. Progressive House worthy of consideration for your list. Has echoes of Northern Exposure. (I agree with all your NE comments - a truely excellent album).

Also try Baggage by Dub Tribe Sound System. Excellent deep house.

Sure - I'll add those to my wishlist too.

I'm a big fan of Cosmic baby, so I'm sure I'll like that album.

Theblackdog Bytes,spanners and recently spanners should be up on the list. Also Plaids notforthrees and double fiqures should be up higher. Also BT binary universe. Avalanches. Cinematic orchestra. Orbitial insides. All my favourite electronica that I think should be on the list higher up. Do agree with D.J shadow, air though.

I liked B12 and polyglon window. Didn't check others thoroughly.


A couple of more suggestions:
Way Out West - Way Out West
Hybrid - Wide Angle
^^^^^^Fantastic debut albums. Classic examples of "beautiful" breakbeat music
Supereal - Elixir --- This could be the first prog. house album ever. Anyway, it's great and it contains some fine tracks (Body Medusa...)
Spooky - Gargantuan --- Maybe a bit outdated, but still very important album
Cosmic Baby - Tranceformed From Beyond --- You probably won't find this one, but this is where the whole trance story started. On MFS. First trance compilation ever. After this trance exploded as a genre

I've listened to Way Out West - Way Out West (Blue), and I think it's fantastic, but I really still need to consider it. I think it'll make the honorable mentions, probably.
As for Hybrid, I still haven't got it.
I'm also giong to have to obtain the other three.

Thanks for the suggestions!

Mentallo & the Fixer did some interesting work for their time, Revelations 23 in particular.

It's interesting. I've never been too fond of industrial though. I've never had an ear for it, so I can't really judge it properly.

detroit techno ... Well, I guess it's more of an EP/single kind of music anyways:

carl craig - more songs about food and revolutionary art
derrick may: innovator
mr. fingers: amnesia (one of the originators of house music)
detroit escalator comapany: soundtrack 313
john beltran: ten days of blue

these are just some suggestions

Fluxion: vibrant forms 2 (maybe)
Basic channel: basic channel or Scion: arrange and process basic channel (maybe)
Vladislav delay: multila
theorem: ion

This one should be on there:
Woob: Woob (1194)

i'm mostly just giving suggestions and see if you would like to put these on there ... i dont think any one of these *absolutely* need to be on there

good day

Some of those are really good. I'll consider putting some of those on honourable mentions. For example, Woob is perpetually in a state of almost good enough. I guess that's what an honorable mention is...

I know I've suggested it before but after listening to it again a few times recently I definately think Amon Tobin- The Foley Room deserves at least a spot on honourable mentions. It is without a doubt for me the best album of 2007.

It really needs more listens from me first. I have yet to get the raging desire to listen to it at any point, so I'll have to sit on it for a bit longer.

nice to see some Faust on here.. i think you should add:

-Aksak Maboul: Un Peu de l'Ame des Bandits
-White Noise: An Electric Storm
-Four Tet: Rounds or Everything Ecstatic
-something, anything please, from Squarepusher (this one seems like a major oversight)
-Chris Clark's: Boddy Riddle
-Boards of Canada (maybe Music has the right, or Geogaddi)
-something from Negativland
-Who's afraid of the Art of Noise
-I believe that The Books "Lemon of Pik" should be on the list before "food for thought", but that is just my opinion...

there are so many others, but this is a nice list you have started here..

^^^ Correction to my above additions...
the Aksak Maboul Album that I meant was actually "Onze Danses Pour Combattre La Migraine" - this was their first, more freeform (similar in structure to the Faust Tapes) instrumental album which utilized more electronics than their second album (which was much more in the RIO style).

I've added two of those. I have no idea how I forgot "Music Has the Right to Children." I'll download the ones I don't have. Thanks!

A few I would include would be,

-Dave Clarke - Archive One
-Plastikman - Sheet One
-Hardfloor - TB Resuscitation
-at least one album from Yaz, Erasure, or Depeche Mode...give Vince Clarke SOME credit
-Moby - Everything is Wrong
-Altern8 - Full On (Mask Hysteria)
-Chemical Brothers - Exit Planet Dust
-the Art of Noise - (Who's Afraid of) The Art of Noise
also have the Prodigy - Experience, and not Fat of the Land (which I think is a horrible album)
as well as Daft Punks - Homework, instead of Discovery.
Also, if you're going to include My Bloody Valentine, the Stone Roses should also be mentioned.

Definitely Plastikman - Sheet One. It's one of the first albums which introduced the concept of minimalism to dance (in this case techno) music. It really deserves a mention, especially since this whole "minimal" buzz which is shaking today's world of dance music has its foundations in that album (among some others).

And +1 on Exit Planet Dust, Experience and Homework. Especially on Homework which gave a new boost to stale and pretty uninteresting house scene in the mid 90s.

Homework is on there, way above Discovery.

As for starting "minimal," it seems minimal showed up in three very groundbreaking ways at different times in 1993, all of which seem very seperate (as in, didn't know about each other), those being Ø - Röntgen EP, Basic Channel's appearance (and release of one of their best records, Cyrus - Enforcement), and Plastikman - Sheet One. However, Sheet One was the last of the three to appear, as it got an October release, versus the January release of Rontgen, and the March release of Enforcement.

I really like Sheet One though, so I'll put it on.

I'd for sure put Discovery over Homework, but that's just me. There's like, 30 minutes of superfluous music on Homework (no doubt quite a bit on Discovery too, but the songs are better). It's just my opinion - if you can replicate a 8 minute track by putting a 4 minute track on "repeat" then you should release the 4 minute one.

I'm pretty sure the Orb was an offshoot of the KLF. Not completely sure, but I think that Chill Out was indeed a big influence on Adventures (of course, probably not the two singles, but certainly the rest of it). Indeed I would consider Chill Out one of the best :) For that matter, would Eno's Another Green World qualify?

Nice to see dubnobass on the list, I would have put it in the top ten though. I think there's a very human quality to it that transcends a lot of electronic music. You know, actual emotion. Some great melodies too. I'd put Second Toughest in the Infants and the live album Everything, Everything up there too. All of them are essentials in my book.

Also, Hard Normal Daddy by Squarepusher was a good suggestion! Combining jazz fusion with glitchy electro was a nice idea, and pretty much everything on it works pretty well.

Kraftwerk - Trans-Europe Express (Electro)
White Noise - An Electric Storm (Psychadelic Rock/Krautrock)

They're both top 20 worthy IMHO, I think you'd really like them

Also, no Radiohead - Ok Computer ?
I know it was quite commercial for their work, but it has some really amazing tracks on there such as Paranoid Android, Theme Music (For a Film), Karma Police, Climbing up The Walls, Lucky & The Tourist. Thom Yorke is a really great vocalist on this album (as he is with all) and the lyrics are truly profound. I don't consider No Surprises that good a track compared to the rest, though no doubt still a good song. Thanks, Blind

I just really preferred Kid A, but I'll listen to OK Computer again and see...

I've gone off Ok Computer again, sorry about recommending it, it diminishes after quite a few listens, whereas the much better and more experimental "Amnesiac" is more suited to this list, though OK Computer is still good, might get an honourable mention perhaps?

Just want to say thanks for opening my eyes to another genre (what, is the the 3rd or forth you've opened to me fully to?) in krautrock.

I'm glad :D
I really like hearing that my lists can do that for people.
Enjoy krautrock, AsColdAsIce!

White Noise - An Electric Storm (Avante Garde experimental electronioc album) I think it's definitely worth a place.
Also, get your hands on Trans Europe (or Europa) Express asap, it's better than autobahn by far!

I've given White Noise a couple of listens, and I'm liking it a lot! I'll need to give it a bit more thought before adding it though.
As for Trans-Europe Express, that will have to's on my external hard drive which is currently at Lisa's house (my girlfriend's house), and neither of us will be able to go there for a couple of weeks. My initial listen was a good impression though. It will probably join Autobahn on the list.

Good, glad to hear you like Electric Storm, the electronic techniques they used are explained in this documentary on youtube about the Radiophonic Workshop (The place where the two electronic producers on Electric Storm used to work), explaining about magnetic tape, and looping in time had to be done by ear etc, I found it to be quite interesting.

(That's just part one, you have to click on the next and so on for all nine parts)

Trans-Europe-Express is great for sure, and no worries, glad you liked the recommendations (:

Cool video! I still need to digest Electric Storm though - which is a good sign that it's worth listening to.

Glad to hear you liked it and are enjoying the album, any luck with Kraftwerk - Trans Europe Express?

Some, but I find it hasn't aged all that well. not well enough to be included here...maybe in honorable mentions.

I really do struggle to understand what you think makes 'Clicks & Cuts 2' such a masterpiece of an album. I like minimal stuff and I like glitch/IDM stuff which I guess are the genres this album would fall closest to. But seriously, there's barely anything to most of these tracks. I guess I can see why some of it is important. Its almost like a worse version of Farben - Textstar though. This reminds me of a modern day music-concrete (specifically Stockhausen) album, conceptionally important but very, very boring. With something like Villalobos there is usually complex layering and so there is much more to the tracks than at first listen. With this...there just isn't.

Give the album a few more listens (up until about the 4th track on CD2, where it disintegrates into a series of bizarre experiments that, while technically interesting, are for the most part almost completely unmusical, and some even border being unlistenable). There is a lot done with very little here, and once you understand the sound, the atmosphere is very unique. I'll provide a review of it later that should help you understand my love of it a bit better.

I have just listened to 3 Organic Experiences and I agree with you, one of the best ambient albums ever. I liked it so much I listened to it twice in a row, in fact. Have they made any other significantly good works to your knowledge?
Also, do you really feel that The Green Valley EP (by PVD) and Tranceport are better than Tri Repetae by Autechre?

It isn't that they're's that I don't really like Tri Repetae very much. Although I respect it, I just don't find it fun or interesting to listen to at all. My respect for it is enough to warrant an honorable mention. And while I don't respect either Tranceport or The Green Valley EP, I find them more fun to listen to...or did. I don't know. I need to rethink some of these placements, and the list in general. My taste has somewhat evolved in the past year and a half.

As for Aglaia...they have another album: Sacred Waters. But I don't find it nearly as good...although it's certainly not bad.

Ahh yes, conceptually its good, but in terms of listenability it's not. Sounds like Stockhausen lol. Ahh ok, I got an idea of how rare Aglaia is by the way, only something like 8 votes on discogs! And there's only one edition on one label.

haha, yeah. I feel so anti-mainstream for listening to it. Then I feel pretentious for feeling special for listening to something obscure. Then I say screw it, and just listen to the album.

I actually like the second album more with repeat listens (like Stockhausen), but it will never be anywhere near as good as Three Organic Experiences. that's an impossible act to follow, I think.

Yeah, often (though not always) artists will hit a golden album (Klauz Schulze - Irrlicht, Robert Wyatt - Rock Bottom, DJ Shadow - Endtroducing) and then don't know how to live up to that standard again, and usually proceed to do one of two things; 1. Try the same style (ala Hardfloor) and not really do that well, or try something completely new (ala DJ Shadow, who went all "Yo, yo, yo wassup") and not really do that well. However, there are of course some artist with a real consistency.
I really stopped caring what people thought of my music once I started listening to what people obscure, because most don't really have an opinion on music anyway. I have to admire someone who listens to their own style of music (even if its one I don't like) from what their friends or group listens to, because they have actually stood up and decided their own musical preference.

The only artists I can say were consistent were maybe...The Orb (who returned to form multiple times), Frank Zappa, and...Biosphere, but he's not exactly a perfect example. My Bloody Valentine, maybe, but only because they were wise enough to disappear at their peak. Ricardo Villalobos, Isolee, and Broken Social Scene so far, but their tales have really only begun. Maybe Bjork. Maybe. Perhaps Miles Davis and Charles Mingus, for a while.

As for obscure music, when you get older and go to university, you'll find that a lot of people like obscure music, and no one really listens to the same thing. Electronic music is more popular, as is indie rock and classic rock. In fact, with many, listening to mainstream music is seen as being stupid, unthinking, and conformist. Obscure music listening is often seen as a mark of intelligence and personality (at least in my group of friends).

#74. Its eleven albums. No. Parade of the Atheletes is great, all the songs are original, and they are mixed well. But his live mixes, especially some of the eleven you picked, are not quite up to standard. lso, Paul Oakenfold's Bunkka, or A Lively Mind both deserve some consideration. And pretty much any BT album as well. Just some suggestions i noticed.
I Personally wouldve put Prodigy up a couple spots, but thats just me.

Parade of the Athletes is awful, same with Bunkka (which is just pandering to the masses).
The whole point of the #74 albums isn't that they're amazing masterpieces on their own, but because that set of albums will give you a snapshot of progressive/anthem/epic trance in it's prime. When you listen to them, you will hear the best (not precisely the best, but it's a good summary) of that era, perfectly laid out for you.

Prodigy is good, but not good enough to rise. BT is up there already. BT doesn't go higher, because I find his music very technically precise, but often emotionless. He's a producer, not an artist, and his albums are often just excuses to show off his latest studio trickery.

"BT doesn't go higher, because I find his music very technically precise, but often emotionless."

Darktremor, my friend, I recently bought BT's "This Binary Universe." You must put this on your "To listen to" list. I'm not pushing you to do it... just stressing... slightly. Hahaha. Perhaps a bit emotionlessless.

Fair enough, I'll check it out.

No... I was kidding... or ignorant, perhaps.

There are a few tracks that signify high standards for me, but the album as a whole is quite a disappointment now that I've listened to it a few times.

And the music videos... don't ever watch them... they'll just bore, age, and waste your life...

I too have gotten sick of This Binary Universe, if you listen to it more than once, it really really starts to grate on you, especially that first track, it doesn't sound like real glitch, it sounds like BT trying to do glitch. I did actually like it, but now, I can't stand it at all, and yeah, those vids are awful.

I listened to it once, and didn't like it. It sounds like BT is struggling to be artistic when he's entirely out of ideas (or when he was always out of ideas to begin with...). BT should just stick to being a producer, he's good at that. BT is a tech guy who decided that being able to use every piece of audio equipment ever created is all it takes to be a musician.

This Binary Universe is a great CD. I personally prefer the organic sound of ESCM myself, but both are worth consideration.

I would also like you to consider Talkie-Walking by Air, Kicking a Dead Pig by Mogwai, The Fragile by Nine Inch Nails, and Simple Things by Zero 7. Those are all some of my favorite Electronic albums.

And whats up with no Chemical Brothers or Crystal Method? Or did I just miss something.

And where can I find anything by Algaia? I can usually find anything on the internet, but this eludes me.

Chemical Brothers and Crystal Method both have good singles, but I can't think of any one album by either of them that blew me away.

Aglaia is really hard to find, but given enough time, you should be able to get it off of soulseek.

I'll check out that Mogwai album. Talkie-Walkie was fairly good, but it was uneven and certainly no masterpiece.

I don't like industrial at all, so The Fragile is out. I don't think the vast majority of electronic music listeners like it either: it seems to be more something you'd come at from a rock or metal perspective, especially industrial rock like Nine Inch Nails. I find Zero 7 somewhat dull.

Thanks for the suggestions! :D

where is Venetian Snares - Rossz Csillag Allat Szuletett???
I personally find this to be one of, if not the greatest electronic album to come out in, well I dont even know how long.
Its broken nearly all barriers as to what can constitute "dance" music. Not to mention Mr. Funk is a downright genius when it comes to beat arrangement :D

OK, sure, I'll check it out.

I recommend AWOL (A Way of Life) Live for your "to listen" list, if you can track down a copy. It is pure party Drum & Bass awesomeness!

Sure, I'll check it out. But who is the artist?


Thank you for this great effort to put up a Top 100 of electronic music. It is very difficult to find this type of information out there. Great job!

I do not believe that I saw Jean-Michel Jarre on the list. His contribution was major. What about Bugge Wesselltoff?



I'll consider putting Oxygene on there somewhere. I'm still thinking on it.

oxygene/equinoxe are both great albums which deserve to be at the top

Oxygene is a great album, and I've decided to put it on the list.

Pärson Sound (minimal/psychedelic), Vernal Equinox by Jon Hassell (ambient), Hosianna Mantra by Popol Vuh (ambient), Under Glass & Well Oiled by Hash Jar Tempo (drone psychedelic) (both are pretty good, but Under Glass is more electronic sounding), Subarachnoid Space is a good ambient band (i would recommend Delicate Membrane first but Almost Invisible is more popular with everyone else that i have talked to), Suicide (first album) is very minimal and electronic, all electronic; very primitive. Piper at the Gates of Dawn is very very psychedelic and very very good; the Taj Mahal Travellers albums (both are very minimal and extreme drone/ambient). The Ascension by Glenn Branca (avant-garde/minimal). i am sorry for linking a lot to eMusic but it is the best place that i remember to attain the most, of what i listed, for you money (legally). i understand this is meant to be an electronic list (Northern Exposure, Faust, Brian Eno, irrlicht) but these fall under the other sub-genres that you listed.

Thanks, I'll acquire all of those that I haven't heard. Suicide, I don't like at all, but I don't know what I was thinking not adding the fantastic Hosianna Mantra. I'll download the rest. Thanks! :D

Undoubtedly a great list, from the guy who once said

"Wouldn't it be interesting if you were giving head, and you started to laugh, and it came out your nose?"
:P lol

haha, thanks.

Where did I post that comment anyway? I remember saying it, but I don't remember putting it anywhere on listology...

Ishkur my friend, ishkur. Was just looking at the samples database and your name cropped up. He really needs to update his website more.

What's your screen name on Ishkur? (same name?)

Yeah, I've been waiting out version 3 of his guide for more than a year now. I don't even bother going there anymore...

Yeah, I made two accounts, but forgotten one, and the one I do remember is Blind, so you should be able to find me. But I never spoke on the forums or added stuff to the site, I only made it to access all areas. Yeah, I don't go on it much at all anymore (by the looks of things, nor does he...updates come every 3 or 4 months), but sometimes looking back on some of his classic articles it is pure hilarity. v3 will most likely not be out for AGEEES, but I'll still definitely give it a good look when (if) it does.

On your albums, I know it isn't electronic but have you heard Robert Wyatt - Rock Bottom? I reckon it's the best Scaruffist album out there. On more electronic terms, what about an OutKast album? ATLiens is classic rap, very chilled with some really quite good production on it, not to mention interesting lyrics and good rapping.

Agreed, it's very good. As is Aquemini. I'd have to think about that, because it's a direction I haven't taken the list in yet. It IS a good suggestion...

I'm doubtful version 3 will ever come out, actually; I've essentially given up on waiting for it.

I know what you mean, and 2.5 is outdated now, it has no minimal inclusions other than Microhouse and Minimal's precursor Minimal Techno.

Aquemini is also a great hip hop album. How about Grandmaster Flash & The Furious Five: The Adventures Of Grandmaster Flash On The Wheels Of Steel for a Hip Hop/Electro album?

You mean The Message. The Adventures Of Grandmaster Flash... was a track on that album.

Yes sorry, I meant the LP.

Ah. I've heard The Message before, and it was a pretty good track. I'll check the whole album out.

Hmm there are probably better choices, but The Message may deserve an honourable mention if only for the 3 absolute standout tracks on it - Scorpio (one of my fav electro songs), The Message (one of my fav hip hop songs) and The Adventures of Grandmaster... (the original sample crazy adventure). The rest is very funky and kind of verges on disco which are very danceable especially She's Fresh. The two exceptions are the weak point, Dreamin' and You Are which are ballads.

EDIT: For Hip Hop the two most acclaimed by most critics are Public Enemy - It Takes A Nation Of Millions To Hold us Back and De La Soul - 3 Feet High And Rising. Some of the early Run-DMC albums are pretty highly regarde as well. Then again perhaps the the more varied aspect of The Message from being just Hip Hop gets it a place.

Good recs, perhaps also something by the Sugarhill Gang, did they do any major album work which was any good?

I'm going to make a sub-list of (non-abstract, as that's well-represented) hip-hop to consider; so far:
Outkast - Aquemini
Grandmaster Flash - The Message
Public Enemy - It Takes a Nation of Millions to Hold Us Back
De La Soul - 3 Feet High & Rising
Something from early Run-DMC

Nice! I Look forward to it, how about another normal EDM album rec?

4Hero - Two Pages

Apparently it basically invented broken-beat, plus it's awesome so you may want to try it out.

Sure, I'll check it out. I have a lot to download right now. There's you guys' recommendations, plus a lot of my friends seem to be following my lead into weird music lately, so they're always recommending things to me, plus I'm exploring liquid funk, deep house, and acid jazz right now more closely, all of which I never gave a proper look at (despite meaning to do so for a long time). So far, I haven't really found much in the way of great new albums, but I've certainly found some excellent music (tracks, generally). Acid jazz holds more promise in album land...that one I'm giving a better check right now. So this list should see some massive changes...
That 4hero album fits well into my liquid funk exploration...thanks!

Hey, sorry about this (it's a bit off topic but I know that your trance list isn't checked anymore) but I thought you had to see that truly...

trance IS dead. go on it, and you will cringe, more than you have ever cringed before. :|

They're taking that whole "we're record gods because we can play other people's records" thing way too literally. It's like a new age cult indoctrination site. made me die a little bit inside.

Check out The Knife - Silient Shout if you haven't yet.

I have. It's a good one, but I don't know about it's inclusion here. I'm still thinking on it...

Probably the best list of music albums I've seen. Very well done.

Hey, what do you think about including some turntablism albums like the famous DJ Qbert's Wave Twisters, Episode 7 Million or Mixmaster Mike's Anti Theft Device?

I've actually never heard those albums - I'll download those two and give them a listen.

As far as Tiesto goes what do you think of Forbidden Paradise 7. I find it flows much better than 3.

I'm interested to know if what you say is true. This was the last one in the Forbidden Paradise series that Tiesto 'mixed'. Pretty much all of them up to 7 are compiled either exclusively or mostly by Arny Bink. On 3, 4 and 5 (the ones I've heard) I've always thought the mixing was definately nothing special and other djs could have done a better job of it. What makes the Forbidden Paradises, especially 3, stand out over many other Trance mixes is not Tiesto's contribution at all but the track selection and ordering of the tracks (Arny Bink). In fact Tiesto's best contribution to the FP series is Trip To Heaven and Porpoise both of which he partly produced. Also I would bet money considering he had a hand in compiling 5 that the two dutch anthems on there 'Don't Be Afraid' (Corsten's first ever track) and 'The Next Chapter ' (Tiesto's earliest track I've heard that isn't trancecore and is anthem) are his contribution. Having said that they are '96 anthems so their breakdowns aren't ridiculous and they are a couple of the better dutch sounding ones so it doesn't ruin the mix. Track ordering is a bit wierd on 5 though. I mean The Next Chapter (fluffy trance) into Volume III (hard acid) is hardly the amazing build up of The Club into Access on 3.

Tiesto's actual mixing is better on the Search Of Sunrise series and some of the Magiks though fluffy trance hardly compares to the difficulty of mixing rave hardcore or *gasp* multiple genres (eg Carl Cox - Fact). I'm interested to hear the Lost Treasures series as this was also compiled by Bink for the first 3. Also the first couple of Forbidden Paradises as they were compiled by Bink.

I should say that when I say 'upto 7' that isn't including 7. Hence why I'm interested to see how it turned out as it is the only FP mixed by Tiesto not compiled by Arny. Although I should say that it doesn't have a selection of rare and unknown tracks on it to make it stand out particularly. Cascade - Transcend and Taucher - Atlantis (Phase III) were hardly unknown anthems at the time though admittedly the latter would probably be in my top 5 anthem trance songs of all time. Three Drives - Greece 2000 and Paul Van Dyk - Words...even before Paul Oakenfold released Tranceport these were constantly being played before this mix. Yes they are good songs but a DJ should put the undiscovered gem on the mix, not the money spinning track that's already made it big. The first track interests me. A remix of a great classic trance track (Zyon - No Fate) by a duo containing Stephenson who did First Rebirth. Though that was a bit of a one hit wonder so don't know if that'll be any good.

I got that wrong about 'Don't Be Afraid' being Corsten's first ever track. He was doing gabber/trancecore stuff beforehand like Tiesto but again this is the earliest anthem track I've heard by him (I may be wrong but I think this was the track that started making him fame and money, it's certainly the earliest track by his better known aliases).

I would like to congratulate you on a magnificent list, I have just downloaded the Steve Reich album and it is beautiful. I'm looking forward to delving deeper into your recommendations.

Thanks, I'm glad it helped.

Hey darktremor! I really love reading your lists. By the way what jungle/drum and bass do you like, as this is my favourite genre.


These are my favorite jungle albums (I include Drill n' Bass a bit, because I find it really good):
4Hero - Parallel Universe
Amon Tobin - Bricolage
Amon Tobin - Superconnected
Amon Tobin - Out From Out Where
Photek - Modus Operandi
Adam F - Colours
Squarepusher - Music is One Rotted Note
Aphex Twin - The Richard D. James Album
Aphex Twin - Hangable Auto Bulb
µ-Ziq - In Pine Effect
Squarepusher - Hard Normal Daddy

Hey darktremor!

How about Model 500 - Deep Space?

I'm still on the fence with it.

Just throwing this out there....

The SFUR album from GTA: San Andreas. Best classic house album ever.

Haha, nice.

I don't think it's good enough though - it could just be that I always heard it in the game and thus got sick of it (I only listened to SFUR and the talk stations when I drove in San Andreas, so I naturally heard it quite a bit), but I can't see it meriting a spot.

I listened to it a lot as well, but I still consider it to be the best classic house CD I've heard, but you are probably right, not quite good enough for the list.

darktremor, what is this? - 4. 100? ?????? ?? (??? - ???)

i was searching Critic Nathan Andrew Seifert puts it in his "10 albums he considers brilliant" list but came up empty (the blog was deleted). what were his 10 albums?

Haha, looks like the link has since broken. How bizarre is it though that my list appears on the page now?

Well, here's another blog that references his 10:

Sadly, it only mentions two other albums on it...

Have you heard Keep It Unreal by Mr. Scruff? It's one of my favourite electronic albums so you may enjoy it. It's like a funkier version of Endtroducing

It's pretty good, but I wouldn't call it top 100 as it's kind of uneven. Although, you could say that for a number of albums on the list, couldn't you? I'll think about it (and about Trouser Jazz).

I have a recommendation for you, it being Model 500's superb Deep Space. At first, I thought the album to be weak, with not much real substance, but it has since grown on me enormously. The songs are not catchy techno classics in the sense that No UFOs or Strings of Life are, but deep atmospheric sci-fi influenced pieces which are almost ambient (if it weren't for the beats).

I've never heard it, actually. I'll work on acquiring it...

Oh, sorry - I missed your suggestion above. Yes, I'll definitely give that a listen. Thanks very much.