Beatles, Beach Boys & Pink Floyd filtered through a modern sense of electronica.
Pure Ear-Candy!!!

Just listen the F***ing beat switch ahhhh

Spawned from the depths of Staten Island, Arthurkill has risen to become one of NYC's best kept little secrets. Personifying modern rock by drawing on influences from U2 and Bruce Springsteen to Rage Against the Machine and Metallica, Arthurkill delivers market-friendly guitar driven songs that carry the torch of rock 'n' roll into the post-alternative era. Arthurkill's latest album "Addiction" is available either online or through Tower records. Arthurkill is currently in the studio recording "Frozen in Time" the eagerly anticipated follow up to 2003's "Addiction".

Lewis Taylor is a major musical talent, and his first album stands as a landmark among modern soul / R&B productions. Imagine Prince on a roll, with the Beach Boys on backing vocals and Jeff Beck adding psychedelic guitar. He does it all. Sweet falsetto vocals, funny lyrics and a worldwide groove. You'll want more.

I first heard this song sampled on 'The Truth' by Handsome Boy Modelling school, essentially the bones of the instrumental coffee cold, with new lyrics from Roisin Murphy (much better than Fergus MacRoy's on a alternate version of the original).

The song itself is piano based, and has amazing drumming. I am a musical goon and cannot explain it much more than that, but the song has a really nice dusty feel to it. The fact that this was sampled in a modern hiphop record and the drums remained unenhaced says a lot.

This is a great song and well worth tracking down for any fans of funk, jazz or hip hop.

Gorgeous track off Goldfrapp's latest - a lush slice of 60's tinged sexiness, all breathy vocals, soaring pop strings and hints of Serge Gainsbourgh.

A mere pastiche? More than that I think. The track certainly has strong echoes of times past, but there is also something distinctly modern in the mix too.

There is other good stuff on this album, but it took me a few listens to absorb and appreciate it - which is no bad thing.

there is something very modern about this song. it's a timeless tune that was later reworked by godzuki on the album pop romantique. brillant song and my personal bardot favorite.

Its a delightful track, modern big beat sensibility with a great tune, a groover of the highest quality, sounds great in a car, in a club or at home. Full of hooks, vocal, guitar and rhythmic. One of the things I love about the band as well are the crappy pictures of themselves they use on their covers. Theres a promo 12 with a remix on it that is all Bongo's and Organ that didn't make it to release thats pretty good too.

Upon first listen to this tune, I was sold! Available so far only on 12", the track starts off in a traditional congas ala samba vibe with dashes of upright bass. Then the simple but colorful piano melody kicks in and your booty is ready to move. Although this is a modern dancefloor stormer you cannot help but hear its nod to a bygone era in Latin music. If it wasn't for the quick tempo I would think this fine example of a dancefloor delight was created in the late 60s, early 70s.

I have this on the original CD (or at least a CD-R of it) and a French remix 12, which has 3 good mixes including a fantastic one by Manta 1000. Both are very good. The song itself is a mix of the traditional and the modern (with Production by aging Gong-ster Steve Hillage), Arabic and Indian. Violins, Bollywood style singing from Amar blending with Khaleds' gruffer style - all with an irrisistable rhythm underpinning it. Another one chock full of great hooks, where I can't understand a word, perhaps I should take up the study of languages.

The soundtrack to november. This or any other year. Brazilian Jose Mauro only made one album before the brazilian military or drugs (info anyone ?)pulled him in but me oh my how beautful that record is.
If there could be such a thing as bossanova-blues than Jose Mauros "obnoxius" is the blueprint. Joses songs which comes along like a blend of early milton nascimento with doses of Marcos Valle and Edu Lobo. The album was arranged by gaya and is filled with wonderful string arrangements. One modern reference would be another Jose,namely,the swedish indietroubadour Jose Gonzales. The highlight of the album comes at the end, Excaltacao e lamento..,which sends shivers down my spine everytime i hear it.

A beautifully lilting modern waltz. Bittersweet fingerpicked guitar in the background and a wonderful haunting voice, I'm assuming Inara George herself. I'd love to learn more about the artist. A beautiful song of the bitter side of love, "fools in love they think they're heroes, because they get to feel no pain, i say fools are lovers' heroes, i should know, i should know because this fool's in love again." I just love songs like this. I first heard it watching Grey's Anatomy. So I looked on Amazon at the playlist for the soundtrack and found it. Definitely a great song in my book.
She has a website: www.inarageorge.com and unfortunately she just finished a tour.

uplifting, string-laden, lyrically abstract modern indie-pop. i think adam green`s strenght as a songwriter lies in his ability to combine bizarre random lines of text and catchy, but sophisticated melodies to something that`s bigger than the sum of its parts. that`s why i prefer his latest work to what he did back in the moldy peaches, the more well-produced sound really helps to balance out things. the strings on this song, for instance, is what makes it a slice of near-perfect sunshine pop. i really need to get around to actually buying this album soon..

The exquisite standout of the Virus Meadow album and easily And Also the Trees's best song from its early years, "Gone�Like the Swallows" steers away from the sometimes frenetic vocal intensity found elsewhere on the record it comes from for a more reflective but still passionate approach. Simon Jones delivers his lyric with all the deep-voiced intensity of a student of Wordsworth and Shelley reciting on the hillside to nature (which in some respects is pretty much the point of the song). But Jones isn't explicitly anti-modern � consider the mention of the aeroplane in the sky at various points � while the music is equally ancient and up-to-date in feel. Digital delay on the guitars turns them into rolling, darkly chiming flows and waves of sound, dramatically crashing behind the steady rhythm section and Jones' increasingly intense words. Bass and drums alone wrap everything up on a brief, spare note.
(AMG)

Modern electro rock and roll, still obscure, not for long.

Entire record available for free download here:

http://www.greymarketband.com/p/free.html

cool high speed clean guitar instrumental with a 1950s tonalizer sound. I feel like I'm watching Sputnik in orbit while hearing a jet break the sound barrier when I listen to this. Deke and the Ecco-Fonics are noted for a phenomenal period-style production on albums, retro but never wistfully nostalgic songwriting, and exceptional virtuosity at live performances. The rest of this CD is loaded with great vocals and hip tunes.

The 50s exotica standard performed "au moderne" on just two ARP synths and two Hammond organs, recorded live. And while it pales in comparison to the seminal Leroy Holmes version, it's the perfect background music to your next hip Laurence Welk luau.

Simon Warner sings beautifully orchestrated and heartfelt songs with a mixture of 60s (e.g. Scott Walker) and modern pop (e.g. Julian Cope) sensibilities. Most people ignored his album when it came out in 1997. Apparently he recorded a second that even his record company ignored. I was lucky enough to see the great man a few times live in 1997. He's an incredible performer, with a slightly rough but very tuneful voice. The compositions, all his own, are also first-rate. This is my favorite track from the album, a melancholy pop tune with piano, guitar and bass, and later a full orchestra.

Super Furry Animals are one of a select group modern bands I really like. In a sense, they are too 'rock' for me, but they are so furiously inventive and original that I'm always impressed by their songs - even the ones which I wouldn't necessarily listen to by choice. 'Hometown Unicorn' is a masterful pop anthem with a rich Bowie-like 1970s feel to it. The lyrics are also masterful, and concern the late 70s story of Frankie Fontaine, who claimed to have been abducted by an alien spacecraft. From the first line of the song, I was hooked - 'I was lost, lost on the bypass road...' Many thanks must go to my friend and fellow site user, phil for introducing me to this track and this band.
ps, the group are incredibly good live as well.

Ha! Good luck finding this one. Hot little hopes is a storm in a teacup about going out on a night with high expectations by a band who never got the sucess they deserved. The music is sublime; a string and brass waltz that builds to a delirious gallop, but it's the lyrics and their delivery that make it special, and confirm BHJ as a lost treasure. Johnny Brown is a songwriter whose lyrics are great writing in their own right; much of his work reads like documentary, the man has a spectacular talent for transcribing the ordinary while maintaining strict disciplines of structure and story to catch your heart in your throat. Here as elsewhere the story almost doesn't deserve to be told- it's ordinary people with ordinary hopes and fears, but the music and the telling turn it into a modern fairytale.

Another Axelrod mini masterpiece on display here. Big twangy guitars and a wonderfully modernistic haze of modal horns strings and flutes snake around rock solid bass and drums. Whoooo-heee

Starts with a piano tinkling up and down the scale, and then the whole Latin Orchestra starts, ultimately Edmundo's raspy voice bellows out of the speakers sounding for all the world like Shaggy's drunken grandfather. Kind of Rhumba, very very danceable, surprisingly modern sounding with a terrific breakdown to the piano in the middle. Beware Edmundo ros has done another version of La Bamba which is terrible.

The Fleetwoods were an excellent vocal group from the late 50s and early 60s who are best known for 'Come Softly to Me' and 'Mr. Blue'. Both of these are 'classic' oldies tracks, evocative of the late 50s.

'Lonely is as lonely does' came late in their career, and actually sounds much more modern than its 1964 recording date would suggest. This is really a prototype of the 'soft pop' style that would become popular later in the 1960s. The composer, Chip Taylor, went on to write 'Wild Thing' and 'Angel of the Morning'.

The track opens with a nice picked guitar introduction. As in many of my favorite Fleetwoods tracks, Gary takes the lead vocal, with Gretchen and Barbara singing backing vocals. Gary has a very sincere voice. At the beginning the song sounds very routine, but there are some clever chord changes and some cool lyrics. My favorite line is 'As your tears fall, remember this: you're just a kiss away from happiness'.

Cumbia folk music from Colombia with really cool modern arrangements. An amazing fusion of Carribbean with electronica with a very unique Afro-Colombian style.

The multi-talented Dutch artists Kraak & Smaak shine in their unprecedented, soul-shaking compilation, �The Remix Sessions� due out May 29th. Named by IDJ as "one of the most incendiary live outfits," Kraak & Smaak take that crackling energy and infuse classic jams with their signature style. Music lovers everywhere will rejoice as hard-to-find tracks, many of which were only released on vinyl, join each other in this boogie-licious showcase.

From banging dance floor "Mimezine � Can't get Enough (Kraak & Smaak Remix)," to funky, midtempo "Jamiroquai � Electric Mistress (Kraak & Smaak Remix)" to eerie, internationally-infused "Skeewiff � Man of Constant Sorrow (Kraak & Smaak Remix)," Kraak & Smaak reveals their astounding vision for the possibilities of electronica. This beat-driven assembly is an invaluable resource for re-tracing the various pathways of this modern musical expression.

A classic she-done-me-wrong song that melds tough call and response R&B with rockin' doo wop -- don't miss this one. I heard it in the 50s but never had the 45 -- looked for it for years before I found the Ace CD of 21 Young Jessie songs from the Modern label in L.A.

"Mary Lou
she took my watch and chain
Mary Lou
she took my diamond ring
She took the keys to my Cadillac car
jumped in my Kitty and then drove afar"

with Maxwell Davis & Orchestra

Great music for the drive-in!

What a depressing yet beautiful song... I was thinking of recommending this when I first heard it, but today it fits my mood better and I feel compelled to do so. Bertrand Burgalat's production mixes modern beats and bleepy sound with strings, alongside Cinnamon's old-school tuneful indie guitar pop with a female vocalist. God, this song is depressing; did I say that yet? But it's one of those depressing songs that's actually glorious to hear, accompanied as it is by beautiful, rousing music. The vocal is rather tender; as if she's sympathetic about what a fuckup the listener is.

Those uplifting lyrics in full (actually, there's more, but I'll spare you):
"when you were young/you had the sun in your eyes/the grass was greener/the days were sweeter/in the next life/you know where you came from, but there's no sparkle in your eyes/you're gonna die/and there's nothing in between to shout about'.

Why would you want to listen to something like that? I'm not sure, but I have it on repeat play today; check it out!

Stunning melancholy and wonderously modern opener to Gainsboroug's concept album about jailbait love, road accidents & brightly coloured rolls-royces - a masterpiece...

DJ Food's Kaleidoscope was a mind-blowing record for me when I first heard it, and I'm still very fond of it after countless listens. I guess I liked it for many of the same reasons I initially liked Tipsy's Trip Tease; they both took samples I was familiar with, or at least some of which I was familiar with, and pushed them in totally unexpected directions. DJ Food's samples are perhaps more varied and less dense than Tipsy's but still just as finely and imaginatively put together. It's hard for me to single out favorite tracks on this record, but this one is a great piece of modern Exotica. The primary sample here is "By The Waters of Minnetonka" from Stanley Black's "Exotic Percussion" record on London's Phase 4 label. There are some other nice touches including harp, slide guitar, bird sounds, and even a little Ravel ("Daphnis et Chloe"). Highly recommended.

One of the most modern, epic, rocking track ever in history.

This song has a good flowing tune which makes it sound new and modern. An excellent song overall.

After the prologue of Baz Luhrmann's controversial, modern retelling of William Shakespeare's tragedy "Romeo and Juliet," the audience is blasted away by a hoard of harmonious voices chanting a loud, haunting song to the beat of an angry drum. This song, in which a narrator begins "Two households, both alike in dignity...", is called "O Verona," the song which Baz Luhrmann himself calls "an almighty orchestral chord." Its sister song, "O Verona (Reprise)" is uninterrupted by the narrator, and the listener is able to appreciate its musical quality in a fuller fashion. Personally, I couldn't decide whether to recommend "O Verona" or "O Verona (Reprise)" to you. They are both extraordinary recordings on what is, I believe, one of the greatest musical scores to a motion picture ever produced.

An instrumental arrangement using only strings, this piece starts out slow and builds. Its overall tone is sweet and full of emotion. Very seldom does one encounter a song of pure aesthetic beauty, with no ulterior motives or elements, but this is one of those songs.

Max Richter has been influenced by minimalistic modern composers such as Philip Glass and Steve Reich, but his work has its own distinctive feel. This song, among others by Richter, was featured in the 2006 film Stranger Than Fiction.

I was really into the Polyphonic Spree record about a year ago and read somewhere that frontman Tim Delaughter was the singer in Tripping Daisy. There were some pretty rabid recommendations on Amazon for the third TD album - "Jesus Hits Like the Atom Bomb," so I ordered a used copy. It took a few spins to get into, but damn it's a keeper. Melodic art pop heaven. If ya care: it's produced by Eric Drew Feldman - who was a member of Captain Beefheart and the Magic Band, played keyboards for Pere Ubu for a while, and also produced some of Frank Black's earlier solo stuff.

Anyways, as its title suggests, "Our Drive to the Sun / Can a Man Mark it?" comes in two parts. "Our Drive ..." is sunshiney modern pop in the vein of the Flaming Lips, with hooks galore (there are like four parts that could qualify as killer choruses). At about the four minute mark, the track morphs into "Can a Man ...", which sounds something like a Gary Numan song remixed by Kevin Shields. Great change ups throughout and just a real nice listen.

Cubismo Grafico -- aka Gakuji Matsuda -- has quickly become my favorite J-Pop act, and this here is one of my favorite tracks. My impression of J-Pop has been that it is either too overtly dancy or sickeningly cute for my tastes. (To be fair, my bias is based on a relatively small cross-section of music.) Anyway, this track is neither. This is an extremely well-constructed selection that strikes me as both very modern and very "easy" in a way that sounds good to my ears. On this track, Gakuki Matsuda is credited with guitar, steel pan, rhodes piano, mc-303, turntable, and voice. So, yeah, he seems like a talented guy. The music is structured around a child's narration of an amusement park attraction (found on the fascinating "Sounds For Little Ones" compilation of a few years back). The sample lends a fun, playful atmosphere. Delicado thinks he has spotted two of the musical samples used here (or at least the compositions used), and I'm pretty sure he is right. They're both very well known, and, much to the credit of this song, I'm amazed I didn't spot them myself. I'll give you a hint: one of them is one of Burt Bacharach's biggest hits.

"She looks ahead/ she paints her toenails red/ She's wet and wild/ a typical 90s child" I listen to this song when I walk to class early in the morning. It makes me feel like such a girl, but a bad-ass girl. This song and "Wasted Early Sunday Morning" make my life complete.

The middle class ,friendly face of new wave,mostly known for the student sing a long 2 4 6 8 Motorway ,this track however is the sound of late seventies London a cowbell driven social comment which evolves into a beligerent news cast berating man,s basic lack of freedom before returning for arousing chorus.
An underplayed but constant hammond organ gives the track a modern hymn like feel,a little idealistic but a great musical document of the sound of the U.K for a few months in 1978

Alessandroni is probably best known for his characterstic whistling on Ennio Morricone's spaghetti soundtracks. Apart from that he was also one of the few sitar players at the time, guitar player, composer, arranger and the founder of the chorus group "I Cantori Moderni" that was featured on a lot of italian soundtracks of the 60s. In the early 70s he had the opportunity to record a "solo" album, not a score, with a big orchestra without any restrictions (which means it didn't had to fit the mood of a film). The result was "Prisma Sonoro" and it's very Morricone-esque stylewise and regarding the texture of the music with lush strings, horns, wordless vocals,harpsicords etc. Unfortunately it's scarcely available on vinyl, but the track "Punti di vista" was issued as "A spanish village" as a bonus track on the Hexacord release "Di Tresette Ce N'E' Uno Tutti Gli Altri Son Nessuno & Other Western Themes".

The multi-talented Dutch artists Kraak & Smaak shine in their unprecedented, soul-shaking compilation, �The Remix Sessions� due out May 29th. Named by IDJ as "one of the most incendiary live outfits," Kraak & Smaak take that crackling energy and infuse classic jams with their signature style. Music lovers everywhere will rejoice as hard-to-find tracks, many of which were only released on vinyl, join each other in this boogie-licious showcase.

From banging dance floor "Mimezine � Can't get Enough (Kraak & Smaak Remix)," to funky, midtempo "Jamiroquai � Electric Mistress (Kraak & Smaak Remix)" to eerie, internationally-infused "Skeewiff � Man of Constant Sorrow (Kraak & Smaak Remix)," Kraak & Smaak reveals their astounding vision for the possibilities of electronica. This beat-driven assembly is an invaluable resource for re-tracing the various pathways of this modern musical expression.

Soaring choral evocation of a cold bright day on a busy river. From Piero Piccioni�s soundtrack to a Swinging London exploitation film in which an Italian eccentric encounters bikers, fox hunters and a haunted castle.

What a great song! Nothing flash, just a great modern, yet retro, rock song.

Another haunting song, Soul Meets Body is beautiful. "You're the only song I want to hear, a melody softly soaring through my atmosphere . . ." I like where this genre of modern rock is evolving, it's rather unique, definitely going to buy this album and see what else it has on it.

nice modern song

The best New Order song New Order never recorded (bt which features Peter Hook).
Excellent lyrics, sing-along chant / chorus...
I would've though I'd've outgrown this song after 7+ years, but I still get emotional for some reason when I hear this song. It struck a nerve I cannot explain. Beautiful song.

Although a thick line has long been drawn connecting disco to the '90s techno scene, few have bothered to connect the dots between the more modern genre and synth pop. The Human League didn't need to fret about such things, though; they intuitively understood those relationships, having explored virtually all the influences over their career � industrial, funk, R&B, synth pop, new wave, and disco itself. And when the wheel turned again, the band was back on top with a sound that hadn't really changed, but just refined. With a few minor alterations, 1995's "Tell Me When" could have come from 1983, slotting nicely between "Fascination" and "Mirror Man." Of course, the drum programming would need to be changed (there were no jungle rhythms back then!), but the funky bassline can stay, along with the bubbly synths. In fact, the real difference is found in the vignette-esque lyrics and the more complex vocals. And these slight changes make all the difference, turning synth dreams into techno club success. A taster for the group's forthcoming Octopus album, "Tell Me When" hit on both sides of the Atlantic, landing just outside the Top 6 and Top 30 in the U.K. and U.S., respectively.
(AMG)

The former Virgin Prunes member, Gavin Friday, recorded his first solo album in 1989, "Each Man Kills The Thing He Loves". After leaving the Prunes in 1986, he abandoned the music business to paint for a year and a half, returning to the fray after teaming up with pianist Maurice Roycroft (whom Friday renamed the Man Seezer). This debut album, "Each Man Kills the Thing He Loves", found him making unexpected moves into a sort of modern-day cabaret style, albeit with all the Bowie-isms of his vocal delivery intact. And this song, "Tell Tale Heart", is near to country sounds and also could come right from Nick Cave "Your Funeral My Trial".

The psychedelic sound of modern day Manchester , a nursery rhyme slice of beatlesque fun with the humour of a Happy Monday,reminiscent of the Lightening Seeds ,a great tune with a great summer feel .

Shock modern recommendation. The entire 'Triggers' album sounds great to me, with Bertrand Burgalat's production very prominent alongside April's vocals.

'The Life of the Party' has lots of interesting electronic and vocal sounds, including some excellent synths, and a cool and rather spooky chord sequence.

Big thanks to robert[o] for turning me on to the album.

Disko-punk in the vein of the Rapture, Talking Heads and the Clash. Check it out at http://www.artistlaunch.com/artist4.asp?artistid=9403

One of the best tracks from probably the best album in MGM's "21 Channel Sound" series. Recorded by a Japanese orchestra in Tokyo, the styles range from big-band latin to more exotica-styled pieces. This track belongs to the latter. Each track is dedicated to a building in modern Tokyo giving this album a fun travelogue quality. From the liner notes: THE OKURA. Adjacent to the American Embassy, this hotel is just minutes away from the night club and shopping area. It advertises air-conditioned rooms -- all with bath -- and such extra features as a Japanese garden and Turkish bath. [...]

It's no matter what you do but how you do it! This is a darker song in the Ladytron repertoire and electro disco pop at its very best. Very synth bass heavy yet melodic thanks to these people who understand the recipe of making me happy! Ladytron succeed in making their highly synthetic music sound very organic. Just like Kraftwerk have always done. Apart from Kraftwerk this reminds me of... The Human League. But with a modern touch, leaving the trademark 8t's echoes out. Get up on the dancefloor!

The driving force of this trip hop/nu jazz oriented song is the Chet Baker sample, "this isn't sometimes, this is always, this isn't maybe this is always," that exquisitedly weaves its way through the various waves and troughs of the rhythm underscoring the track. For those who have never heard Chet Baker sing, think of Chris Montez, who like Chet epitomizes the he/she question - is it a she or he singing? The sultry and relaxed vocals have endeared me to this song. This track was released in late Feb 2001 on 12" but is believed to be on Waldeck's forthcoming lp, The Night Garden, scheduled for release in late May 2001 on Emagine Music in the US.

I love John Barry. Actually he doesn't seem like such a great guy personally, but I love a lot of his music. This track was originally composed for the soundtrack of the 1971 film 'Mary, Queen of Scots'. However, the sound is very modern. The track is built around a recurring piano riff (which incidentally was sampled by the group Chapterhouse on their 1991 indie/shoegazing single 'mesmerize'), and the tune is played by a synthesized, echoey harpsichord. It's a delightfully simple but very catchy track which stands up to repeated listening.

A French title by a Japanese group with an Italian name. Nice. Unfortunately I don't understand Japanese, but you don't need to know the language to enjoy Pizzicato Five's post-modern, jet-set sound. Complete with Apollo 11 countdown and nod to the fab four.

A modern love song! The videclip is gorgeous!

this is possibly the oldest hip hop track i�ve heard... nice 60�s instrumentation, though the track feels surprisingly modern. cool repetive structure, really nice delivery of the lines, great rythm. amazing song to put on at parties. i love it.

This band is one of the tightest, most aggressive and imaginative 'hardcore' acts in modern music today.

This track would be a perfect introduction to NMN for the uninitiated listener.
If you like this one, you have about a dozen albums' worth of catching up to do.

Just marvel at the uninhibited pounding and tightly-woven rhythmic tapestries unleashed by bassist/ vocalist Rob Wright on 'Victim's Choice'.

NoMeansNo's style here can possibly be described as
'Devo Meets The Dead Kennedys'
...if one was so inclined to describe things.

This band just constantly and consistently manages to pour it on extra-tight, extra-heavy, and maniacally complex within the usually confining genre of 'Hardcore'.
(call it what you want, I am just attempting to simplify things here)

So don't be shy! This band will please a wide variety of listeners, from Jazz-Heads to Metal-Heads and many of the in-between-heads alike.

Band Website:
NoMeansNo

Just one of many soul-pop-sunshine-rock stunners on Trio Ternura's 1971 LP (the title translates as "Gonna Live Inside Your Smile"). Brazil at this time was an endless source of top-notch coed sunshine-pop vocal groups, including these guys, Conjunto Sambacana, Quarteto Forma, Vox Populi, Coral Som Livre, Brasilia Modern Six, Antonio Adolfo & Brazuca and others. Heads up, 5th Dimension fans....

Another shock modern recommendation! San Serac's second album, 'Ice Age', came out earlier in the year, and I had the pleasure of touring with the band. I got to be a big fan of several of their songs, but I think this one is the best. The singer describes the lyrical content as 'paranoid bullshit', but I find it quite compelling.

Musically, this is very percussive electronic music with a very fresh sounding 80s influence. It's atmospheric and relentlessly beaty. More info is available at http://www.frogmanjake.com/iceageinfo.html.