On a Friday night in 1989, the word started drifting through certain circles that a band called The Warlocks was putting on a show outside of Hampton, Virginia. Considering this was the Grateful Dead's original name (they changed it in 1965), many people along the eastern seaboard began scratching th
Lauded by Details Magazine as "the metal machine music of Lou Reed's nightmares," Future Sound of London bridges the gap between the driving beats of techno and the pleasant waves of orchestral ambient music. Out from the trashbin of mid-'90s techno, the group's sound has emerged without a smudge.
Kraftwerk's reclusiveness is notorious. They've turned down all offers to work with big names-- not David Bowie, not Elton John, nor Michael Jackson neither. They've never re-mixed the work of another artist. They hold the reins over production tightly, to the point of self-management. They haven't e
Shankar looks beatific, sitting on stage before his sitar, a 17-stringed instrument made of two gourds, teak wood, and silver-toned frets. We can almost envision the sultan's courts in Delhi filling with melodious strains. But once Shankar begins to play, his asymmetrical rhythms delicately splinteri