Jumping on the post-grunge industrial bandwagon with Outside didn't successfully rejuvenate David Bowie's credibility or sales, so he switched his allegiance to techno and jungle for the follow-up, Earthling. While jungle is a more appropriate fit than industrial, the resulting music is nearly as awkward. Though he often gets the sound of jungle right, the record frequently sounds as if the beats were simply grafted on top of pre-existing songs. Never are the songs broken open by a new form; they are fairly conventional Bowie songs with fancy production. Fortunately, Bowie sounds rejuvenated by this new form, and songs like "Little Wonder" and "Seven Years in Tibet" are far stronger than the bulk of Outside. Still, the record falls short of its goals, and it doesn't offer enough intrigue or innovations to make Earthling anything more than an admirable effort.

Universal TV UK's Connected: '90s 12" Mixes features 36 cuts over three discs culled from the clove-smoked DJ bins of the mainstream '90s. Using the instantly recognizable four-note jam from the Stereo MC's as its impetus and lead-off cut, Connected collects all of the extended versions that listeners were duped into buying during the age of the CD-single, like eight minutes of the Soup Dragons' "I'm Free," a remix of Deee-Lite's "Groove Is in the Heart," and the bass loop version of Stone Roses' "Fools Gold," resulting in an overly long trip (pub crawl) down memory lane that would have been fine had it been streamlined into a single disc. Sadly, no drugs or light sticks are included.

Sacrilege is a double remix album by the band Can, released in 1997. It features remixes of many of the band's best-known songs from the 1960s and 1970s, remixed by contemporary recording artists.
The remix of "Spoon" by Sonic Youth was sampled by Tyler, The Creator for the song "Foreword" on his 4th album, Flower Boy.

From the final drum'n'bass pioneer to release a full-length, Roni Size's New Forms could well be the best. Though it's slightly bloated at two full discs, and slightly overhyped due to its winning Britain's Mercury Prize, New Forms was the major statement on drum'n'bass, barring only Goldie's Timeless. Size's prime asset is his unique style – tough, careening breakbeats and metallic time-stretched effects over the organic, elastic sounds of upright bass and other jazzy add-ons. He also has a knack for deft pacing; though many of his productions test the seven-minute mark, he plays around with the beats so much that no track ever grows boring. On the title track, he weaves two sets of female vocals – American rapper Bahamadia and resident Reprazent diva Onallee – into the mix, digitally syncopating Bahamadia's rap into the production with complete precision. The constantly retriggering breakbeat on "Matter of Fact" makes it another highlight, and Size's transition from the atmospheric "Heroes" to a raging breakbeat storm like "Share the Fall" (both are Onallee features) is astonishing. Yes, Size's production clout is much more apparent on the first disc than the second, but New Forms is laced with so much genius it's worth the price of two discs to own all the excellent productions inside. [A four-CD 20th Anniversary Edition of New Forms was released in 2017, featuring the remastered album plus B-sides on the first two discs; remixes from the likes of Photek, Grooverider, and Peter Kruder on the third disc; and a "live hardware mix" of the album on the fourth disc, featuring previously unreleased edits and remixes by artists including Grooverider, Source Direct, and Krust.]

Goldie's groundbreaking album 'Timeless' turns 25, and to celebrate limited edition vinyl, CD and digital expanded remasters of the seminal album are being released in April 2021.

Seller's comment :
If you are an ennio fan this cd will blow your mind, remixed in the style of cafe del mar, buddha bar, lounge music, with bass and drums.

Soul Jazz apply keen ears to the ingenious era of UK rave, hardcore and jungle and its unprecedented stylistic shifts of the early ‘90s with a haul of seminal, obscure and killer cuts.

No need to worry about Apollo 440 turning intelligent in the wake of electronica's growing experimental leanings. Their third album overall, Getting High on Your Own Supply is a ride through sampladelic breakbeat that's just as mad as 1997's Electro Glide in Blue. Seemingly oblivious that even their youngest listeners could spot their samples, Apollo 440 pillage Led Zeppelin and Status Quo (among others), blending styles from trance, ska, hip-hop, dub, and disco with a tossed-off feel that's quite charming. From the breakout single "Stop the Rock" to the unabashed, old-school silliness of "Cold Rock the Mic" and a remix of last year's "Lost in Space" theme which fuses black metal with jungle breakbeats, Getting High on Your Own Supply is another dumb but infectious party album to file alongside Fatboy Slim's You've Come a Long Way, Baby.