Funkadelic

If there's one record that stands at the portal to the world of Terminal Vibration, it is without a doubt Public Image Ltd.'s mighty Metal Box.

Where does machine funk intersect with post punk? The chrome-plated technicolor world of machine soul. It's arguably the most vital form of popular music (still!)...

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.

A tribute to Damon G. Riddick, L.A.'s laidback ambassador of machine soul, and his sprawling nocturnal wonderland laid out beneath a neon glow.

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.

Consider this an ornate and baroquely executed exclamation point to the whole canyon affair, a Coda in the true Led Zeppelin sense of the word, illustrating the sacred geometry of this sprawling landscape and driving the point home.

We're in the process of transforming this space into something far more accessible, with content mapped out of its current linear structure into an encyclopedic archive.

Throwing everything from "(Not Just) Knee Deep" to "Hit It And Quit It" into a blender of abstraction, War Babies comes up with the adrenaline rush of pure future shock.

Seeing as we've moved into the dog days of summer, the moment seems right to bring back the Motion series. This selection happens to include some of my all-time favorite techno music.

Rewiring their funk up to the machines, Kleeer spit vector grooves out across the globe's post-disco dancefloors and laid out blueprints for the future.