100% Pure House is a 1994 various artists compilation released by Columbia that captures the explosive energy and diversity of late 1980s and early 1990s house music through a wide-ranging collection of club classics spanning hip-house, garage house, and acid house, featuring influential artists such as Crystal Waters, Robin S., Marshall Jefferson, Inner City, Lil' Louis, CeCe Peniston, and Joe Smooth while showcasing the evolution of dance music from soulful vocal house and garage grooves to raw acid rhythms and crossover club anthems that helped define the golden era of underground and mainstream house culture.

Street Sounds 88-2 is a defining compilation that captures the transitional energy of the late 1980s dance music scene, where disco roots evolved into house and acid house innovations. This release reflects the underground club culture of the era, blending Chicago house influences with UK-driven dancefloor sensibilities. Characterized by punchy drum machines, deep basslines, and hypnotic grooves, the album delivers a raw and authentic snapshot of early electronic dance music. Tracks from artists like Kraze and The Todd Terry Project highlight the emergence of acid-infused sounds and sample-based production techniques that would go on to shape modern club music. The compilation maintains a consistent high-energy flow, making it ideal for both nostalgic listening and appreciating the foundations of house music. Overall, it stands as an important document of a pivotal moment in dance music history.

Acieed Inferno Volume 2, released in 1989 on BCM Records, is a high-energy collection that captures the raw, hypnotic essence of early acid house music. Packed with deep basslines, pulsating rhythms, and the iconic squelchy sounds of the Roland TB-303, this compilation immerses listeners in the underground club culture of the late 80s. Each track carries a unique combination of driving beats and experimental synth textures, creating a trance-like, immersive experience that feels both energetic and hypnotic. The album perfectly reflects the innovation and rebellious spirit of the acid house scene, offering a snapshot of the era when electronic dance music was rapidly evolving. Ideal for both nostalgic fans and newcomers exploring the roots of house music, Acieed Inferno Volume 2 delivers a thrilling, adrenaline-fueled journey through classic dance tracks that defined a generation.

Acid House Music - New Beat, released in 1988, is a seminal compilation that captures the raw energy and experimental spirit of the late 80s electronic dance scene. Featuring a mix of acid house tracks and the distinctive Belgian new beat style, the album delivers hypnotic basslines, squelchy synthesizer patterns, and tight, pulsating rhythms that defined the era. Each track immerses the listener in a unique sonic landscape, combining repetitive grooves with subtle melodic textures to create a trance-like, immersive experience. This compilation reflects the underground club culture of the time, offering both nostalgic charm and historical significance. Perfect for fans of early electronic music, vintage dance tracks, and the foundations of modern house and techno, the album provides an engaging, energetic journey through one of dance music’s most formative periods.

Acid House Music - New Beat Vol.2 is a fascinating snapshot of the late 80s electronic dance scene,a time when underground club culture was exploding across Europe.Released in 1989,this compilation captures the hypnotic energy and experimental spirit that defined both the acid house and new beat movements.The tracks featured here are driven by deep basslines,pulsating drum machines,and the unmistakable squelching sounds of classic acid synthesizers that became the signature of the genre.What makes this compilation especially interesting is how it reflects the darker,slower groove of the Belgian new beat style while still embracing the psychedelic edge of acid house.The result is a collection that feels mysterious,immersive,and perfectly suited for late-night listening or nostalgic trips into vintage club culture.For fans of early electronic dance music,this album offers a genuine taste of the underground scene that helped shape modern techno and house music.

Kevin Griffiths & Bobby M - Issst [2CD] (2007) is a vibrant and eclectic electronic compilation that showcases the duo’s talent for blending deep house grooves, melodic synth lines, and energetic club-ready beats.Over two discs, the album delivers a nonstop journey through dancefloor-focused tracks,combining hypnotic rhythms, layered textures, and catchy hooks that keep the momentum high from start to finish.Each track balances driving percussion with atmospheric elements,creating a rich sonic landscape that is immersive yet irresistibly kinetic.Issst highlights Griffiths & Bobby M’s versatility,merging classic house influences with contemporary production techniques to appeal to both longtime electronic music enthusiasts and newcomers alike.The compilation captures the spirit of 2000s club culture,offering an expansive, dynamic, and highly engaging listening experience that celebrates groove, rhythm, and the art of electronic music.

Veronica Electronica is a remix album by American singer-songwriter Madonna from 2025. The album's title comes from an alter ego created by Madonna during her Lightbeam era in 1998. 8-track release based on the original remix album envisioned by Madonna back in 1998 and named after her ‘Ray of Light’ alter ego. Features newly edited versions of club remixes by Peter Rauhofer, William Orbit, Sasha, BT, and Victor Calderone, along with the original demo of “Gone, Gone, Gone”— a previously unreleased recording written by Madonna and Rick Nowels. Now on CD, it comes in a gatefold CD wallet.

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.

There's no overestimating the importance of Screamadelica, the record that brought acid house, techno, and rave culture crashing into the British mainstream – an impact that rivaled that of Nirvana's Nevermind, the other 1991 release that changed rock. Prior to Screamadelica, Primal Scream were Stonesy classic rock revivalists with a penchant for Detroit rock. They retained those fascinations on Screamadelica – one listen to the Jimmy Miller-produced, Stephen Stills-rip "Movin' on Up" proves that – but they burst everything wide open here, turning rock inside out by marrying it to a gleeful rainbow of modern dance textures. This is such a brilliant, gutsy innovative record, so unlike anything the Scream did before, that it's little wonder that there's been much debate behind who is actually responsible for its grooves, especially since Andrew Weatherall is credited with production with eight of the tracks, and it's clearly in line with his work. Even if Primal Scream took credit for Weatherall's endeavors, that doesn't erase the fact that they shepherded this album, providing the ideas and impetus for this dubtastic, elastic, psychedelic exercise in deep house and neo-psychedelic. Like any dance music, this is tied to its era to a certain extent, but it transcends it due to its fierce imagination and how it doubles back on rock history, making the past present and vice versa.

"Special collector's edition" 150 tracks on 15 compact discs. The story of the House Sound - from the very beginning to the latest Acid Trax.

NOW Music proudly presents 60 more essential singles from the magical year of Pop that was 1989.

Everything Is Wrong is the third studio album by American electronica musician Moby, released on March 14, 1995, by record labels Mute in the United Kingdom and Elektra in the United States. It was released with a limited-edition bonus disc of ambient music titled Underwater.

Singles 93–03 is a compilation album by The Chemical Brothers and was released on September 22, 2003. It is a collection of singles published by the band from 1993 to 2003 (though not all the singles are included), plus new songs "Get Yourself High" and "The Golden Path". Early copies of the CD came with a bonus CD. To remain relevant after a decade in the music industry is rare indeed; for a dance act, it's virtually unique. Singles 93-03 ably demonstrates how the Chemical Brothers have managed it. Having first carved a reputation as DJs the Dust Brothers in the early 1990s, the two history graduates narrowly avoided calling themselves the London Dust Explosion before spearheading big beat, becoming a huge live draw, collaborating with Noel Gallagher and having Glastonbury Festival founder Michael Eavis play "Hey Boy, Hey Girl" at his wedding. It's been 10 years of fun, frolics, and gigantean left-field beats for Ed Simmons and Tom Rowland and, as this faultless singles collection testifies, continual reinvention.

UK three CD anthology from Edward Ball, a celebration of his work and the perfect introduction to Edward's world, from the teenage DIY punk and power pop of 'O'Level and Teenage Filmstars through the indie mod of The Times to Ball's years at the Creation label. 61 tracks, cherry picked from his wonderfully wide-ranging musical journey. Highlights include The Times' smashing 1981 debut single, 'Red With Purple Flashes', their 1982 fan favourite, 'I Helped Patrick McGoohan Escape' inspired by cult TV series The Prisoner, the irresistible 1996 solo near-hit, 'The Mill Hill Self Hate Club' and the full 10:35 version of Love Corporation's 'Give Me Some Love' with stunning production by Andy Weatherall from 1991. Plus a previously unreleased gem for the anthology, 'Song To The Lighthouse', an out- take from his soundtrack to the 2010 Carol Morley film The Edge. The Whaam! Label set up by Edward Ball with the Television Personalities' Dan Treacy and Ball's own Artpop! Label were a direct inspiration for Alan McGee to set up Creation Records who signed Edward in 1988. Brit Pop era solo albums saw Edward joined by musical friends such as Ride's Andy Bell, Nick Heyward and members of The Boo Radleys while Ball's dance and world music influenced project Love Corporation were remixed by Andy Weatherall, Danny Rampling and Monkey Mafia. Ball also resurrected The Times and Teenage Filmstars monikers at Creation, under the former name Ball melded indie and dance music before Primal Scream's 'Screamadelica', while, with the latter, he embraced psychedelic noise.

"Orbital’s exploratory debut album re-wrote the rule book for rave" - DJ Mag
Originally released on September 30, 1991, Orbital’s eponymous debut album became known as “The Green Album” to distinguish it from their second album (known as “The Brown Album”) The Green Album includes the seminal ‘Belfast’ and a live version of ‘Chime’, the landmark dance track that launched their career in 1990.All audio fully remastered, overseen by Orbital