A unique imprint, based in Vancouver but operating with a global perspective, issued a retrospective in 1995 to celebrate a major anniversary. Decadence: 10 Years of Nettwerk offers a captivating, five-disc overview of the label's multiple personalities. Nettwerk's roots lie in leading-edge electro-pop and techno-rock, although it has also nurtured a talented lineup of semi-acoustic-based singer-songwriter types, led by introspective thrush Sarah McLachlan. The combination works because the acoustic contingent isn't American-style granola/folkie stuff, but a sophisticated, Euro-artsy variety that shares compatible reference points with its more wired division.

Quattro II Is the new follow up to the hugely successful Quattro compilation album from John Digweed that was released in April 2020. Featuring 4 CD's of exclusive new material which has been compiled and mixed by John Digweed, showcasing music from some of the most exciting electronic producers out there. This time with the Juxtaposition CD we hand the controls to German legend Robert Babicz for an original album of futuristic electronica and ambient textures.

One of the first of the blissed-out rave acts to storm the charts, and also one of the longest lasting, the Future Sound of London deserved a good singles compilation, and fortunately they get one with the Virgin retrospective Teachings from the Electronic Brain. Their highest moments were virtually always their singles, and short-form tracks offer a much easier path to understanding the music of Brian Dougans and Garry Cobain than their occasionally bloated LPs. Teachings from the Electronic Brain neglects nothing of real value, beginning with their first chart hit ("Papua New Guinea") and grabbing the best tracks from their albums Accelerator ("Expander"), Lifeforms (the title track), the live-in-the-studio ISDN ("Far-Out Son of Lung and the Ramblings of a Madman," "Smokin' Japanese Babe"), and Dead Cities ("We Have Explosive"). Best of all, licensing requirements prevented the addition of material from 2002's half-baked The Isness.

Collection includes: Pump Up The Jam (1989); Body To Body (1991); The Best Remixes (1991); Recall (1995). Of the many studio-based dance music projects that dominated the charts during the early '90s, few were so popular, or such an improbable success story, as Technotronic. Emerging from Belgium, the multicultural group helped push the deep bass grooves and insistent beats of house music out of the club scene and into the pop mainstream; ironically, they did so largely by hiding behind the photogenic visage of an African-born fashion model who, it was later revealed, did not even perform on their records. In reality, Technotronic was the brainchild of Jo Bogaert (real name Thomas de Quincy), an American-born philosophy teacher who relocated to Belgium in the late '80s in the hopes of mounting a career as a record producer. Bogaert's intent was to fuse house with hip-hop, and toward that aim he sent demos of his work to a variety of rappers, including the Welsh-born MC Eric and a Zairean-born teenager named Ya Kid K (aka Manuela Kamosi), at the time a member of the Belgian rap group Fresh Beat Productions.

Orbital became one of the biggest names in techno during the mid-'90s by solving the irreconcilable differences previously inherent in the genre: to stay true to the dance underground and, at the same time, force entry into the rock arena, where an album functions as an artistic statement - not a collection of singles - and a band's prowess is demonstrated by the actual performance of live music. Though Phil and Paul Hartnoll first charted with a single, the 1990 British Top 20 hit "Chime," the duo later became known for critically praised albums. The LPs sold well with rock fans as well as electronic listeners, thanks to Orbital's busy tour schedule, which included headlining positions at such varied spots as the Glastonbury Festival, the Royal Albert Hall, and Tribal Gathering…

The first in a series of various artist compilations, alongside more in-depth artist focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient within a new setting, created often by House and Techno producers for a world beyond dance floors but made very much with the pre-clubbing and post-clubbing listener in mind.

Pino and Wildjamin align themselves with FAX's direction of veering away from heavy synth based trance to slower more melodic and rather original electronica. Picking up from them last track of Xangadix, the remarkably warm and emotive pieces set The MS-Series apart from the duo's other works as their most essential. "Monochill" and "Voltage Control" are rich examples of how ambient and trance are combined to transcend what either of the two genres are capable of.

Introspectives (1995). When grandmasters take over control, everything will be okay. In Aural Float, the masterminds behind Elektrolux, at this time, show it all. In cooperation with Pascal F.E.O.S, Alex Azary and Gabriel Le Mar have created a piece of vinylized ambience which documents their extended excursions to extraterrestrial sound-spaces. As "Introspectives", the title of the album already indicates, the heads behind Elektrolux demonstrate into which musical territories they will take their listeners in the future. And those territories promise to be far out…

Like so much of Moby's earliest work, this isn't so much an album as a compilation via his original label, Instinct. Ambient influences in techno were all the rage in 1993 in terms of press and coverage (though jungle would swiftly eclipse both it and the progressive house genre), so it's no surprise Instinct wanted some of that action, right down to the says-it-all title. Motivations aside, Ambient is an enjoyable collection of experiments; if Aphex Twin's monumental Selected Ambient Works releases eclipse it in terms of both quality and sheer inventiveness, Moby's own efforts in the field are often quite pleasing. Those familiar with such later efforts as "God Moving Over the Face of the Waters" and "The Rain Falls and rhe Sky Shudders" can find their partial roots here, though the compositions are generally more formal and less-immediately noteworthy than what came next.

Harald Grosskopf is a legendary drummer who was among the first (if not the first) to play drum together with sequencers. He was a regular guest on albums by Klaus Schulze in the second half of the seventies. After he’d joined Ashra, the band headed more into a rock direction, never forgetting their electronic roots. Steve Baltes became a member of Ashra in the nineties. His electronics gave the pioneers a modern approach. Axel Manrico Heilhecker is considered on of Germany’s leading guitarists. They already work together as Sunya Beat (Harald and Axel) and N-Tribe (Harald and Steve).
"Four Times Three" (4x3) is released under their own names. The four tracks on "Four Times Three" all have traces of the great classic Ashra albums…

After the incredible success of their "Doctorin' the Tardis" single in 1988 (better known as that theme from Dr. Who), Drummond and Cauty had plenty of money to hire talented musicians (instead of merely sampling them, as on their early recordings). The White Room is the result, an album bursting with hit singles that nevertheless flows as well as any concept album. Often overlooked as a classic from the acid house era (mostly because of the KLF's retirement one year later), The White Room represents the commercial and artistic peak of late-'80s acid-house. Japanese edition includes 3 bonus tracks.