Bristol

In the final crisp days of winter, we descended upon the weeds that had begun to take over the Gardens, encroaching on anything and everything the way only winter weeds can do.

If there's one figure who stands above all else as house music's singular visionary iconoclast from year one, then it must be Jamie Principle.

1997 was without a doubt my favorite year in memory, and its music more than lived up to the times, remaining potent today over twenty years on.

One thing that's become apparent through the various stations of this whole Terminal Vibration saga is that the music grows decidedly more electronic...

This time of year — when late autumn begins giving way to the dawning chill of winter — often takes me back to the year 2001, a swirling vortex of electronic jazz and machine soul.

This is one of those records that seems to come out of nowhere like a complete bolt for the blue, preempting the decade to come with dread trip hop vibes.

Into the 90s, where the aftershocks of dubbed out post punk were continuing to live large. Right off the bat, Mark Stewart was the strange attractor.

Dub was born on the b-side of the reggae 7" single, where the instrumental version would be pressed so that deejays could chat over the top at the soundsystem.

Now we move to the back of the crate toward the voodoo records: the heaviest, most atmospheric music this side of krautrock. Things are gonna get weird.

Picking up where the original Parallax 100 left off, this list represents the next hundred entries in my top 200 records of all time.