Terminal Vibration

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 music is like Detroit — a complete mistake. It's like George Clinton and Kraftwerk stuck in an elevator. The subject turns to techno, house and other things...

The elegant beat matrix of electro is to rave what the blues were to rock 'n roll. In other words... it all started with Kraftwerk.

This is the sound of the seedy underbelly of The Future Sound Of London's world, in the grimy back streets and dingy dives deep within the city.

Material's Intonarumori is a sprawling double-album sourced in the seedy underbelly of hip hop. And it's as ugly and twisted as you could hope for.

"Once we get out of the 80s, the 90s are gonna make the 60s look like the 50s." There was a sense that the table had been set for the coming decade.

At the interzone between post-disco, new wave and boogie lies a tropical dancefloor sound embodied by no one quite so much as the Compass Point All Stars.

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.

And so we've reached the halfway point in the Terminal Vibration saga, concluding the core eighties segment of the trip.

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.