
Go Bo Diddley
Go Bo Diddley is a mono document of rhythmic insistence — not a curated album but a functional stack of takes, anchored by maracas, guitar, and a hambone pulse that refuses to yield.
A decade of unlicensed parties that changed the law.

Go Bo Diddley is a mono document of rhythmic insistence — not a curated album but a functional stack of takes, anchored by maracas, guitar, and a hambone pulse that refuses to yield.

Leftism is a 1995 electronic album that reworks earlier singles with non-dance vocalists and live instrumentation, anchored by dub, breakbeat, and house textures. Its cohesion was achieved through revision, not design. It lands through contrast — Lydon’s bark, Halliday’s haze, Red’s toasting — all framed by cavernous, tactile production. It does not flatter the ear. It recalibrates it.

Music for the Jilted Generation is a breakbeat techno record defined by its political stance, sampling rigour, and studio discipline. It rejects commercial rave tropes while expanding the form’s emotional and structural range. It is not nostalgic. It is not ambient. It is not collaborative beyond Howlett and Reality. It is urgent, specific, and sonically uncompromising.

The Fat of the Land is Prodigy’s 1997 third album — their first with Keith Flint’s vocals, titled from an old English phrase, and defined by its Costa Rican crab cover and ant logo.

The Stone Roses’ 1989 debut is a document of studio friction: ambitious songwriting, underpowered production, and a band certain they’d outgrown the result before it shipped.


Stankonia is OutKast’s fourth album, recorded spring 1999–spring 2000 at their newly owned Stankonia Studios in Atlanta, released October 2000. It began life as Sandbox. It is a hip-hop record built on studio autonomy, guitar-led composition, and deliberate stylistic pivot from their earlier, darker work.

Guitar Hero (2005) is a rhythm game where players press coloured fret buttons and strum in time with scrolling notes on screen. Developed by Harmonix and published by RedOctane for the PlayStation 2, it uses a custom guitar-shaped controller with five colour-coded frets and a strum bar. Gameplay draws from Frequency and Amplitude, and supports both left- and right-handed configurations. A Rock Meter fails the song if depleted, and Star Power can be activated via whammy bar or tilt. Players earn points for hitting notes, chords and sustains, and increase a score multiplier through consecutive successful hits. Hammer-on and pull-off techniques allow faster note series without strumming each note. Standard controllers map notes to face buttons.

Wipeout 2097 is a PlayStation-era anti-gravity racing game developed by Psygnosis using the console as primary reference hardware in preparation for its September 1995 Western launch. Players race against AI opponents, aiming to finish in the highest position possible. Vehicles travel at high speeds and require air-brakes for cornering. A weapons system lets players eliminate opponents mid-race. Each vehicle has a shield energy quota; depletion from weapons or impacts destroys the craft. Destroyed ships can be recharged at pit stops at the cost of race time. The Quake Disruptor creates a wave effect that launches opponents into the air. Difficulty escalates across three classes — Vector, Venom, Rapier — each with higher speeds and more complex tracks.

Beat Saber is a virtual reality rhythm game developed by Beat Games in 2018.




The Roland Alpha Juno-1 is a 1986 6-voice analog synth built for techno and rave. It delivers sharp bass and noise, improved MIDI, and chord memory — but sacrifices warmth and hands-on editability.

The Roland Alpha Juno-2 is a 1986 6-voice subtractive synth with velocity and aftertouch, 64 presets, 64 user patches, chord memory, portamento, transpose, and a 24dB analog low-pass filter. It uses membrane buttons and the Alpha Dial for editing. It was built for stage and studio bass and rhythmic work — not for deep, fast sound design.

The Yamaha SU700 is a 1998 all-in-one sampler/sequencer music production studio designed for dance music creation.

The Roland JP-8000 is an analog modeling synthesizer released in early 1997. It sought to digitally reproduce the analog tonalities and power of its analog predecessors. Although it lacked somewhat in analog warmth due to its early digital architecture, it added many new features, such as RPS (Realtime Phrase Sequencing), which allowed short sequenced phrases to be assigned to keys, and such as motion control. It also featured the unique Supersaw oscillators and analog-style controllers such as an arpeggiator and an assignable touch response ribbon control. The Supersaw in particular was the reason why the JP-8000 was particularly successful as a main keyboard (along with the Virus) in the dance music market, especially for trance music.