Andrea Parker 是一位英国美女techno dj 和producer。现居住和工作在伦敦。早期是一位大提琴演奏者，之后投入于电子音乐制作和dj事业。她的音乐温暖而激情，喜欢用vintage synthesizers正如Fairlights 或是 ARPs 。
2001年由她自己制作QUATERMASS厂牌出的这张EP是我02年在巴黎的virgin用鼻子闻出来的（我都是这么买到自己喜欢的cd的），摆在一个不起眼的地方，最先吸引我的当然是这张cd的封面，然后试听了一下觉得特变态，非常纳粹的trip pop , 电子，当然也比较dark ambien，这是我当时的感受，7年后的今天忽然把它想起来了，还是依旧觉得这个女子不简单。这张的ep的风格被定为是Electro, Bass。

Selected Ambient Works 85–92 is the debut album by the British electronic music artist and producer Aphex Twin, also known as Richard D. James. It was released on 9 November 1992 through Apollo Records, a subsidiary of the Belgian label R&S Records. The album consists of ambient techno James recorded on cassette as early as 1985, when he was 13–14 years old. It received widespread acclaim and entered the Dance Albums Chart at No. 6 in December 1992.

Selected Ambient Works 85–92 is considered a classic, defining work of electronica. Music journalists have credited it with expanding the scope of ambient music and introducing techno to fans of indie music. The website AllMusic described it as "a masterpiece of ambient techno".[1] Selected Ambient Works 85–92 has appeared on best-of lists; in 2012 the UK magazine Fact named it the greatest album of the 1990s.

Collaboration between Sasha, the world reknowned DJ and Darren Emerson (of Underworld fame). This is Sasha's first new material since the 'Xpander EP' and precedes a new album duein Spring 2001. Tracks, 'Scorchio' (Edit, Full Length Version and Emerson's

This is the first full-length release for Berlin-based DJ/producer, Shed.The work at hand presents yet another stunning Ostgut Ton acquisition, revealing Shed's irresistible, intense techno sound. Shedding The Past is the culmination of years of continuous Soloaction research, Shed's very own imprint. The recordings fully unfold the total variety in his outstanding crafts of sound. Lineage can be drawn to the Saunderson Detroit sound, Aphex Twin rave and Manix hardcore, sounding like an archive document -- an archaeological history of electronic dance music. Shedding The Past captures the intensity and the purity of club and rave in the early days, without excess nostalgia. Rather, it creates new moments that leave the past behind. Full of energy and vigor, this is true techno music: concentrated and dense, but with a sheer easiness born from eastern Germany. This adeptness has captured the ears of Berghain and Hard Wax ears. As others of his social provenience, Shed took on the opportunities of the early '90s techno culture, which unfolded after the Wall went down, and developed an approach of "just do it." With this easiness in mind, Shedding The Past is just true techno music. The 2LP version includes an exclusive track, as well as two alternate versions specially crafted for vinyl.

UK compilation of tracks that inspired the dancefloor experimentalist & top Detroit techno producer. Featuring classics from The B-52's, Yellow Magic Orchestra, Atomic Dog, George Kranz, George Clinton & more. 2001.

Actress, real name Darren Jordan Cunningham, known to friends as DAZ, returns with a new album, now on Ninja Tune and a new music system called “AZD” (pronounced “Azid”), a chrome aspect journey into a parallel world. An artist who has always preferred to make music than to talk about it, in “AZD” he has achieved another remarkable landmark, one which is as resistant to interpretation as it is demanding of it. Following on from his previous albums, R.I.P, Splazsh and Hazyville, an epilogue poem attached to the press release for Ghettoville was construed by media, commentators and spectators that Cunningham had retired. This led him to conceptualise this mass of conclusion as the key to ‘Giving power back to identity.’
So a few pointers, or possible ways to think about “AZD”. The album is themed around chrome – both as a reflective surface to see the self in, and as something that carves luminous voids out of any colour and fine focuses white and black representing the perfect metaphor for the bleakness of life in the Metropolis as suggested by Anish Kapoors Cloud Gate.
Another way to approach would be through the art of James Hampton and Rammellzee (who inspired “CYN,” which Cunningham also sees as a vision of New York in reverse…) – both of whom, though of different generations of the African-American slave diaspora, created art through “Sourcing castaway materials from their environment and reinterprating them into absolute majesty given from the fourth dimension.” There is also the career-long influence of the Detroit techno pioneers, something which becomes clear on this album “there is a contrast in the type of glow or reflection”.
Alternatively, you could write your PhD thesis on Jung’s Shadow Theory and AZD: “Lots of ideas come from dreams, this isn’t new, but sometimes the conscious mind starts to meld into the universal consciousness through constellation tunnelling.” If that sounds too taxing then you could always fall back on Star Wars and, in particular, the Death Star: “It has a dark dystopian backdrop, with highly sophisticated technology, but it is fading into the ether, still holding on and emitting a powerful energy. The music remaking the embers, binding them together and pulling them apart again.”
Alternatively, just listen. That “glow” Cunningham talks about makes this in some ways more immediate than previous Actress releases. Take lead single, “X22RME” (pronounced “Extreme”) which elegantly plays between the lines of Oriental classic rave and Balinese warehouse Techno machined in a Rotherhithe lock up welding the grooves into a seamless cracked joint.
At the other end of the spectrum is “Faure in Chrome,” a byproduct or development from his collaboration with the London Contemporary Orchestra, in which he “repatterns” aspect of Faure’s Requiem into a piece which sounds like the very institution of classical music being encased in electronic ice and scanned through a high frequency bandwidth. In between are gems like “Runner,” a personal re-soundtracking of Blade Runner “its from the deleted Fade Runner scene where AZD in a Peckham Cafe realises his barber has over the years etched a faded scroll into his head using early 80s African synthpop as a vexing serum“, or “Falling Rizlas,” an alienated music-box ballad. It’s a remarkable piece of work, that harks back both to Actress’ previous productions and to earlier iterations of the (broadly conceived) “techno” project without being beholden to anything but Cunningham’s forward-facing, individual and disembodied vision.
The simplest you could say about “AZD” is that it’s art – the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Call him what you will, this is the year that Darren ‘Daz’ Cunningham - aka Actress, aka AZD – asserts more clearly than ever before his complete independence.

This is the remastered original "Starlight" from the Godfather of Techno, Juan Atkins aka Model 500, originally released on 12" by Metroplex in 1995. Includes 9 new remixes specially commissioned by Echospace. This classic masterpiece was originally engineered by Basic Channel's Moritz von Oswald and recorded at the Basic Channel studio in Berlin sometime in 1993-1994. Upon release, this track quickly became a cult favorite from Derrick May to Derrick Carter, and infected house, techno, ambient and even dub DJs alike. A song so powerful, it led to a change in techno music forever and was a shining example of what Detroit was all about: innovation. Juan Atkins was the first person to apply the word "techno" to music. He found new ways of making sound, and in so doing, he influenced nearly every genre of music in the 1980s and beyond. Yet his name is not well- known beyond the world of electronic dance music. He might, in fact, be one of the most obscure of modern music's true pioneers. This CD has been mixed together seamlessly for an uninterrupted listening excursion through the many shapes and forms of this song's incarnations. First, we offer the remastered original from Ron "Motown" Murphy, who spent countless hours restoring this treasure from 1/4" tapes. Then we find ourselves captivated in the pure, refined deepness of Deepchord's towering menace of space and bass. Echospace manage to give Juan's original just enough percussion flare, with wave frequencies rushing through a field of delay which spin around your head. This leads into a widescreen electro rendition from Soultek, and Convextion serves up some Kompakt-ish schaffel grooves, but with a hypnotic Detroit effect. Mike Huckaby makes good use of the Waldorf Wave before we enter ambient territory from Echospace who combine daring production techniques with vibrant forms of texture and color. Sean Deason presents a stomping killer with devastatingly beautiful synthesized notes and a sweet 909, and Phase90 presents breathtaking pads and a slow motion effect so powerful, it could only be compared to the works of Thomas K"ner or Wolfgang Voigt's Gas project -- this is love in lo-fi. Finally, Intrusion takes it out with a dubbed-out, dreamy ambient voyage.

British electronic group Leftfield will reissue their 1995 debut album Leftism in May this year as Leftism 22.
The reissue comes in the form of a double deluxe CD edition which will feature the remastered album (Neil Barnes and Paul Daley have taken care of remastering duties) on the first CD and a bonus disc of the 11 album tracks remixed by a host of “top house/electronica/techno artists”.