Club drugs and rock stars abide by the same rule: What goes up must come down. After hitting a massive high on 1999's Play, Moby stopped making dance music, opting instead for the downtempo atmospherics of 2002's 18 and the strummed guitars of 2005's Hotel.

So it's exciting to hear this forty-two-year-old vegan blogger return to form. A concept album about an all-night bender, Last Night solidifies Moby's link in the chain that binds DJ pioneers like Todd Terry to slinky futurists like Justice. From the space-age-Abba shimmer of "Ooh Yeah" to the itchy funk of the brilliant Nineties house throwback "Disco Lies," Moby goes for groove over texture, relying on high-hats, piano and strings while wisely staying off the mike.

The album is billed as a love letter to New York nightlife, but tracks like the dance-hop "I Love to Move in Here" (featuring Grandmaster Caz) feel more like an Irish wake for the era before the city's megaclubs were shuttered.

Appropriately, Last Night's only drawback is the harsh slowdown of the trancelike "Degenerates." After so many body-rocking tunes, it's like any sobering slap: a real downer.

Welcome a brand new Born Idle Records producer Momenta!

What a start I must say!

A side is an atmospheric breaks monster with this dark male vocal sample repeating "The ccchronic basss", while
we have an electro flavoured peaktime Code Red remix on B side, which I personally don't like at all, but anyways it's a well produced remix.

But A side is a true monter floorbanger, so this one is must have for all who love such deep atmospheric breaks!

I've just unpacked this vinyl and placed it on my turntable...

It's a very powerful dancefloor killer release, and... what is very important - both sides ARE!

The A side is "Rocket" which I call techno breaks, incredible one!
The B side is a true masterpiece - it has electro voice, electro samples and, of course, breakbeat bassline - so it's a totally awesome electro breaks.

I'm so pleased with this release.
"Rocket / Elektrick" - you two have touched my soul ))
Thank you, Dj Killer!

To my mind Bjork is one of the artists which is constantly growing up mentally, so you can hear it in her music, voice, samples, loops , in her musicians, videos.
Don't you forget that her music - is an experiment in all means?
Bjork is kinda unique in that way - her every album is not like previous one, it's another page in a great part of music history.

Volta represents all Earth nations, it's cultures, traditions. And I think the previous comment was a comment of a person, who wasn't interested in getting equainted with all that variety of beatiful things.

Volta is absolutely great album, and don't forget to be patient - you possibly wouldn't understand its message at first, just listen to it for few more times. It's Bjork - remember?

The key to Placebo's sound is singer/guitarist Brian Molko, whose impersonation of a woman goes far beyond his appearance and into his singing voice. His trio brings together various influences the epic, noisy "Chicago Sound," late-'70s prog-rock, and late-80s "college rock" but boils them down into fairly conventional guitar-heavy melodrama, with the sort of opaque and angsty lyrics usually found in that genre.

Such an incredible comeback of Bjork with a single Earth Intruders, before Volta release.
Such a refreshment after perfect vocal Medulla album (but instrumentless),in long awaited Debut and Homogenic style. The early Bjork is back!

When I first heard heard: "We are the Earth Intruders, We are the paratroopers" i was singing AllDayLong WEareTheEARTHintruders!!!

A lot of emotions, of course Bjork's diamond voice, groovy beats, nice lyrics - this song is absolute masterpiece!

The heaps of praise during 2000 surrounding 1999's Agaetis Byrjun brought surprisingly little attention to Sigur Ros' first record, released in 1997. Remaining available only through the band's Icelandic label, it took some effort to obtain, but those who did get a copy probably found it to be just as adventurous as Agaetis. Though darker and more fractured than the string-laden nooks of the follow-up, it's just as sprawling and outright bombastic. And then there's that voice, one of the most distinctly unintelligible voices since the Cocteau Twins' Liz Fraser. Boy? Girl? One would be hard-pressed to guess without liner notes. Based on pure sound, Von is just as much of a treat as the acclaimed follow-up.

"Little Computer People" once was a wide-spread simulation game on the commodore 64. Today it stands for another pseudonym by german electro-god Anthony Rother. This project reflects the more happier, more commercial electro tunes he does, more than often falling back to good old chiptune-melodies. This album is a must-have for both electro music fans and commodore fans..

Other than on their last album (), the music is more electronica/experimental. As usual the tracks have no names and there's no info about the music in the booklet, so here's something about the movie itself: Hlemmur is Reykjavik's main bus station and perhaps the most disdained place in Iceland's capital.

Like any transportation node, the terminal offers the promise of escape, yet it is also the grim terrain upon which a collection of destitutes appear trapped. Alone and broke, they exist on the edge, exiled from their families and from social norms.

Some struggle with long-term alcoholism, depression or serious mental illness; others are on benefit, burdened by debts, or are simply old and lonely. Their existence is spent between escaping their losses and pain, and a grim clinging to the hope that things will one day get better. They speak frankly and sometimes surprisingly poetically about their life on the street and what drove them there.

Filmed digitally, "Hlemmur" is a powerful and insightful documentary, refusing to aestheticise or glamourise these lives. Drawing out their stories in a gritty yet very human picture, it opens out an intimate window on those "forgotten" or "invisible" characters that society usually avoids through fear or glimpses briefly, uncomprehendingly at safe distance.

The Deftones have always spliced genres, but it's surprising how well the songs on songs on White Pony absorb the band's disparate influences (Slayer, the Cure, Bad Brains) without compromising any of its destructive effect. The hollow, yet sensual, "Digital Bath" ("Tonight, I feel like ... more!"), the ambient anger of "Teenager," and gut-cleansing thunder of "Knife Party" help make White Pony a glorious declaration of independence.