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Last updated on November 30, 2025, updated monthly. |
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 1 . Death In Vegas - AishaReleased in 1999, *Aisha* by Death In Vegas is a gripping blend of electronic and rock. Iggy Pop’s stark, spoken-word delivery adds a sinister layer to its atmospheric, obsessive tone. Peaking at #9 on the UK Singles Chart, the track anchors the Mercury Prize-nominated *The Contino Sessions*. With a haunting video and a brooding soundscape, it became a defining moment for late-'90s experimental music. The music video is directed by Terry Richardson. Writer(s) : Richard Fearless, Steve Hellier, Iggy Popp, Tim Holmes Publisher(s) : Deconstruction Songs Ltd, Warner Chappell Music Ltd, Kassner Assoc Publ Ltd, Osterberg James Music Featured on the 1999 album The Contino Sessions
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 2 . Armand Van Helden - My My MyArmand Van Helden’s “My My My,” unleashed in September 2004 as the lead single from his album "Nympho," melds house beats with funk via a Gary Wright "Comin' Apart" sample. Featuring Tara McDonald’s uncredited vocals, the track peaks at No. 12 on the UK Singles Chart, claims the UK Dance Singles Chart throne, and garners a gold nod on Australia’s ARIA at No. 15. A remix by StoneBridge and a 2006 reissue bolster its enduring club appeal. Writer(s) : Cynthia Weil, Armand Van Helden, Gary Wright, Barry Mann Publisher(s) : Breakdancin Bob Publishing Featured on the 2005 album Nympho
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 3 . Fatboy Slim - Star 69Released in 2001, "Fatboy Slim - Star 69" leaves an indelible mark on early 2000s acid techno. Distinctively repetitive, it borrows a notable sample from Roland Clark’s “I Get Deep.” The phrase “they know what is what but they don’t know what is what” loops relentlessly, leaving a memorable impression. The track's expletive-laden refrain causes its removal from “clean” album versions, adding to its controversy. Climbing to number 10 on the UK Singles Chart, this song holds cult status. Sampling by mainstream artists like Katy Perry highlights its enduring influence. With its energetic beat and minimalist lyricism, "Star 69" remains a notable blend of house and techno elements by Norman Cook, also known as Fatboy Slim. The music video is directed by Tim Fleming, Damian Harris. Writer(s) : Chris Mccormack, Fatboy Slim, Roland Clark, Henry Aurelien Publisher(s) : Universal Music Publishing Limited (Gb), Pamplemousse Productions Featured on the 2000 album Halfway Between the Gutter and the Stars
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 4 . Underworld - JumboReleased under the Junior Boys Own label, "Jumbo" is a 1999 song by British group Underworld. The lyrics are quite abstract and repetitive, featuring phrases like "I need sugar, I need a little water sugar" and "Click, click, click, click." Writer(s) : Karl Hyde, Richard David Smith, Darren Paul Emerson Publisher(s) : Mute Song Ltd, Sherlock Holmes Music Ltd Featured on the 1999 album Beaucoup Fish
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 5 . Death In Vegas - Scorpio Rising"Scorpio Rising" from Death In Vegas threads together Liam Gallagher’s raspy vocals with an eclectic mix of psychedelic undertones, shimmering electronics, and a touch of 1960s Indian-influenced instrumentation. Borrowing its name from Kenneth Anger’s provocative 1963 film, the track doesn’t just wear its cinematic influences on its sleeve—it practically projects them onto a wall with a flickering reel-to-reel of sonic experimentation. The song cleverly leans into nostalgia yet feels tethered to its own moment, pulling a sample from The Pretty Things’ 1965 track "Pictures and Designs" while carving out a sound both hypnotic and unclassifiable somewhere between Britpop swagger and electronica cool. The Liam Gallagher collaboration might initially seem like an odd coupling, but his defiant drawl punches through the track’s moody haze, giving it a sharp, human edge as the swirling production threatens to swallow everything whole. Released as the second single from the album of the same name in early 2003, it performed respectably, climbing into the UK charts and securing a devoted cult following among fans of genre-blurring music. The accompanying music video underscores the song’s cinematic tendencies, drenched in surreal, dreamlike imagery that feels like a refurbished archive of retro pop culture filtered through an art school lens. The track itself feels more like an experience than a straightforward listen, with moments that simultaneously lure and unsettle, speaking to themes of allure, mystique, and rebellion woven into a sonic tapestry that defies easy categorization. Featured on the 2002 album Scorpio Rising
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 6 . Groove Armada - I See You BabyGroove Armada’s “I See You Baby,” with vocals from Gramma Funk, lands on their 1999 album "Vertigo," blending irreverence with funky house energy. Its Fatboy Slim remix amplifies the track’s reach, pushing it to No. 17 on the UK Singles Chart and No. 30 in Australia. From Renault Megane ads to Ministry of Sound compilations, its presence is inescapable. A vivid music video and its spot in Groove Armada’s festival sets anchor it in the late-’90s club scene. Writer(s) : Fatboy Slim, Dale Thomas Peters Publisher(s) : Polygram Music Publishing Ltd (Gb) Featured on the 1999 album Vertigo
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 7 . Death In Vegas - Hands Around My ThroatReleased in 2002, "Hands Around My Throat" by British group Death In Vegas, composed of Richard Fearless and Tim Holmes, is an electronic rock track with industrial influences. The song features the voice of Nicola Kuperus, an American visual artist and singer of the electro-punk band Adult, and stands out for its dark and hypnotic sounds. The music video is directed by Richard Fearless. Writer(s) : Daniel John Bitney, Douglas Andre W Mc Combs, Nicola Kuperus, John Christoph Er Herndon, Kenneth Shin Don Brown, Tim Holmes, Adam Miller, John Cameron Mc Entire, Richard Denis Maguire, Publisher(s) : Deconstruction Songs Ltd, Warner Chappell Music Ltd, The Ghostly International Company, Ersatz Publishing Featured on the 2002 album Scorpio Rising
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 8 . Malcolm McLaren - Deep in VogueReleased in 1989 on the album Waltz Darling, "Deep in Vogue" lands just as the ballroom scene starts adjusting its shoulder pads. Malcolm McLaren, with Stephen Hague in tow, stitches house beats to spoken-word stitches, sampling Paris Is Burning before it becomes required viewing. Vocal duties are split between Lourdes and Willie Ninja, holding court like they're already halfway down the runway. A UK club hit back when voguing still puzzled most broadcasters, it glides through genre borders with the kind of confidence only borrowed heels can offer. Writer(s) : Malcolm Robert Andrew Mclaren, David M Lebolt Publisher(s) : Southern Music Publ Co Ltd Featured on the 1989 album Waltz Darling
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 9 . Armand Van Helden - I Want Your SoulReleased under the Southern Fried Records label, "I Want Your Soul" is a 2007 track by American DJ and producer Armand Van Helden. It samples "Do You Want It Right Now" by Siedah Garrett. Writer(s) : China Burton, Nick Straker Publisher(s) : Bmg Vm Music Limitedfalse Featured on the 2007 album Ghettoblaster
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 10 . Apollo 440 - Lost In Space [Theme]"Lost In Space (Theme)" is a 1998 song by British group Apollo 440. It was created as the main theme for the 1998 film "Lost in Space," an adaptation of the 1960s TV series. The film, featuring Matt LeBlanc, used CGI special effects. The track includes sampled dialogues from the film, such as "Mission Control, this is Jupiter One, The Robinsons are all tucked in and we are ready to fly" and "OK Last one to kill a bad guy buys the beer." Writer(s) : Bruce Broughton Publisher(s) : New Line Tunes Featured on the 1999 album Gettin' High On Your Own Supply
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 11 . Fluke - AbsurdIn "Absurd," a 2008 single by British group Fluke, the lyrics are surreal, referencing popular characters like King Kong, Spider-Man, Dan Dare, and Minnie Mouse, with lines such as "King Kong in Cannes / On a date with Spider-Man / Dan Dare's sitting there / Scared by the killer teddy bears / Downtown Minnie Mouse / Is slippin' Mickeys in the famous grouse." Fluke is known for blending electronic music with alternative rock, and "Absurd" exemplifies their unique musical approach. Writer(s) : Michael James Tournier, Michael James Bryant, Jonathan Howard Fugler Publisher(s) : V2 Music Publishing (Gb) Featured on the 1997 album Risotto
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 12 . Utah Saints - What Can You Do For MeSampling Eurythmics' "There Must Be an Angel (Playing with My Heart)" and Gwen Guthrie's "Ain't Nothin' Goin' on But the Rent," Utah Saints’ "What Can You Do For Me" introduces innovative sampling methods for its time. Emerging from the UK’s early '90s rave scene, this track by Jez Willis and Tim Garbutt embodies the duo’s acid house and electronic rock roots, creating a genre-bending mix that paved the way for widespread sampling in electronic music. In 2012, a remix by Drumsound & Bassline Smith revived the track, resonating with newer audiences and illustrating its enduring influence. Writer(s) : Gwendolyn Guthrie, Jez Willis, David Allan Stewart, Ann Lennox Publisher(s) : Notting Hill Music Ltd (Uk), Pri Music Inc Featured on the 1991 album Utah Saints
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 13 . Basement Jaxx - Where's Your Head AtIncluding samples from Gary Numan's music, "Where's Your Head At" is a 2001 song by British duo Basement Jaxx. The music video is known for its unique visual aesthetic and surreal elements, featuring characters in strange situations. Writer(s) : Felix Major Buxton, Gary Anthony James Webb, Simon Antony Ratcliffe Publisher(s) : Universal Mca Music Limited Featured on the 2005 album Rooty
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 14 . Leftfield - Afro LeftReleased on July 24, 1995, "Afro-Left" brings together Leftfield with Neil Cole, a.k.a. Djum Djum, supplying vocals that are anything but straightforward. The track lands on the duo’s debut album “Leftism,” penned by Neil Barnes, Paul Daley, and Cole himself. The vocals? Not some long-lost African dialect—just spirited gibberish lovingly dubbed "Djum Djum talk" by the creators. Filed somewhere between techno and progressive house, it’s recorded at Rollover Studios, London, and produced in-house by the pair. Its B-side “Afro Ride” finds a second life in the 1995 video game “wipE'out", while the A-side climbs to #22 in the UK charts. The single appears in 12", CD, and cassette formats via Hard Hands/Chrysalis, because format variety was still a thing. Writer(s) : Songwriters Publisher(s) : Chrysalis Music Ltd, Warner Chappell Music Ltd Featured on the 1995 album Leftism
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 15 . Stereo Mc's - Elevate My Mind"Elevate My Mind" is a song by the British hip hop and electronic dance group Stereo MC's. It reached the 39th spot on the Billboard Hot 100, making Stereo MC's the first British rap group to enter the Billboard Hot 100. The track features female vocals by Cath Coffey and samples "White Lines (Don't Don't Do It)" by Grandmaster Melle Mel. The song was used in the soundtrack of the film "Bad Company" (1995) and is also featured in the video game "Call of Duty: Infinite Warfare," on the Zombies map "Rave in the Redwoods." Writer(s) : Robert Charles Birch, Nicholas Edward Hallam Publisher(s) : Bmg Vm Music Limited Featured on the 1990 album Supernatural
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 16 . The KLF - Justified & AncientThe KLF’s “Justified & Ancient” debuts in November 1991 as a quirky single from their album *The White Room*. Anchored by Tammy Wynette’s unmistakable vocals, it playfully weaves The JAMs’ fictional mythology into lyrics. Its popularity peaks at #2 on the UK Singles Chart, #11 on the US Billboard Hot 100, and secures #1 across Denmark, Finland, and Sweden. In the sci-fi-inspired video, Wynette appears amidst surreal visuals, her country roots fused into a dance anthem, including its “Stand by the JAMs” iteration. The music video is directed by Bill Butt.. Writer(s) : Jervis Ricardo Alfonso Lyte, William Ernest Drummond, James Francis Cauty Publisher(s) : E G Music Ltd (Gb 1), Warner Chappell Music Ltd, Spotty Dog Music Limited Featured on the 1991 album The White Room
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 17 . Cornershop - Brimful Of Asha"Brimful of Asha" is a 1997 song by British group Cornershop. Originally released on August 18, 1997, it reached the 60th spot on the UK Singles Chart. After a remix by Norman Cook (Fatboy Slim), it was re-released and topped the UK charts. The lyrics pay homage to Asha Bhosle, a famous Indian playback singer, and reflect on Indian cinema's musical numbers. The music video, filmed in a house in Lewisham, London, contributed to the song's popularity. Writer(s) : Tejinder Singh Nurpuri Publisher(s) : Universal Momentum Music 2 Limited Featured on the 1997 album When I Was Born For The 7th Time
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 18 . The KLF - America: What Time Is Love?The 1992 song "America: What Time Is Love?" by the British group The KLF is a rearranged and enriched take on their 1988 single "What Time Is Love?" It humorously celebrates the 1000th anniversary of America’s discovery by "The Justified Ancients Of Mu Mu" in 992. Musically, it has a heavier guitar presence and incorporates rock elements into their dance sound. The song features vocals by Glenn Hughes, formerly of Deep Purple, adding a rock dimension to the choruses, with updated verses performed by Azat Bello. Writer(s) : Isaac Bello, James Francis Cauty, Lawanda Ann Mc Farland, William Ernest Drummond Publisher(s) : E G Music Ltd (Gb 1), Warner Chappell Music Ltd, M C A Music Ltd, E G Music Publishers Ltd, Wandee Music
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 19 . The KLF - Last Train To Trancentral [Live From The Lost Continent]Mixed by Mark 'Spike' Stent and taking listeners through an engaging and dynamic soundscape, "Last Train To Trancentral [Live From The Lost Continent]" by The KLF was released as a single on April 22, 1991. This version reworks their original March 1990 track with new vigor. Produced by Bill Drummond and Jimmy Cauty, it features vocal contributions from Black Steel, Ricardo da Force, and samples by Wanda Dee. Writer(s) : Ricky Lyte, Lawanda Ann Mc Farland, William Ernest Drummond, James Francis Cauty Publisher(s) : Warner Chappell Music Ltd, E G Music Ltd (Gb 1), Universal Music Publishing Mgb Limited, Wandee Music Featured on the 1991 album The White Room
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 20 . William Orbit - Barber's Adagio For StringsWilliam Orbit reimagines Barber’s “Adagio for Strings” with electronic precision, layering ambient textures over the original’s mournful elegance. Originally released on his 1995 album “Pieces in a Modern Style,” the track resurfaces in 2000, repackaged for a new audience halfway between the conservatory and the club. Ferry Corsten’s remix pushes it into trance territory, where grief meets strobe light catharsis on crowded floors. Orbit—Grammy-winning producer for Madonna, Blur, and U2—crafts this piece without formal training, navigating between analog emotion and digital detachment. The track appears across media like “Heat,” “The Beach,” and “The OC,” shifting from operatic lament to cinematic backdrop without missing a beat. Writer(s) : Samuel Barber Publisher(s) : Schirmer G Inc Featured on the 1990 album Pieces in a Modern Style
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ABOUT BIG BEATBig Beat: Rhythms and Bass linesBig Beat is distinguished by its heavy and punchy rhythms, often inspired by the breakbeats used in hip-hop and funk. Big Beat tracks are generally composed at moderate tempos, ranging from 90 to 140 BPM (beats per minute). The rhythms are often syncopated and accented by dynamic percussion, creating a solid and energetic foundation for the rest of the musical composition. This rhythmic approach gives Big Beat its danceable and catchy character, ideal for clubs and parties. The bass lines in Big Beat are often powerful and deep, playing a crucial role in the structure of the tracks. They can be borrowed from various genres such as funk, rock, and even reggae but are often modified to fit perfectly into the electronic framework of Big Beat. The basses are frequently saturated or distorted, adding a rich and sometimes aggressive texture to the music. These bass lines, combined with the punchy rhythms, contribute to the powerful and intense feel characteristic of Big Beat. The use of synthesizers and sound effects is another distinctive feature of Big Beat. Tracks in this genre often exploit both analog and digital synthesizers to create catchy melodies and complex sound textures. Effects such as delay, reverb, flanger, and phaser are widely used to enrich the sound and add additional dimensions to the compositions. Big Beat: Samples and LoopsBig Beat relies heavily on the use of samples and loops, borrowing sound fragments from other recordings to create new compositions. This technique has its roots in hip-hop, where producers used drum breaks and excerpts from existing tracks to build beats. Big Beat artists have adopted and extended this practice, integrating elements from various genres such as rock, funk, soul, and even classical music. The sampling process in Big Beat involves selecting, manipulating, and integrating short sound excerpts from other music tracks. Producers often use drum samples, guitar riffs, bass lines, vocal snippets, and sound effects. These samples are then modified using techniques like time-stretching (changing the duration without altering the pitch), pitch-shifting (changing the pitch without altering the duration), and reverb to fit the new musical context. Loops are also a central element of Big Beat. These are sound segments repeated throughout a track to create a solid rhythmic foundation. Big Beat producers often use syncopated drum loops to add movement and energy to their tracks. These loops can be simple, like a repeated drum beat, or complex, integrating several sound elements stacked on top of each other. The use of samples and loops in Big Beat has democratized music production, giving producers the ability to create rich and textured tracks without the need for live musicians. It has also paved the way for sound experimentation, allowing artists to mix genres and musical eras innovatively. Big Beat: Fashion at FestivalsConcerts and festivals showcasing Big Beat often feature distinctive fashion styles that combine elements of streetwear, sportswear, and rave culture. Fluorescent and neon colors are ubiquitous, with accessories like glow bracelets, LED necklaces, and neon sunglasses being essential. These bright and eye-catching colors serve not only as a fashion statement but also as a practical way to stand out in dark, UV-lit environments. Loose-fitting t-shirts and tank tops, often adorned with popular brand logos or psychedelic graphics, are common. Athletic shoes and sneakers are the preferred footwear for their comfort and support. Cargo pants and baggy shorts, equipped with multiple pockets, allow festival-goers to easily carry their personal items. These apparel choices provide the freedom of movement essential for dancing for extended periods. |
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