The Black Angels' Death Song

The Black Angels' Death Song

Their first album in four years, Death Song continues The Black Angels’ tradition of groove-based psychedelic rock and trippy op-art album covers. It’s familiar territory for their fifth full-length release, continuing the exploration of their last LP, Indigo Meadow, which itself was a return to the roots of their first album, Passover.

Architectural's "Metropolitan Opera"

Architectural's Metropolitan Opera

Architectural constructs minimal techno tracks asserting the traditional European sound. Releases like last year’s Elastic Layouts and Architectural 07 are competent dub and Detroit constructions, but Metropolitan Opera lifts producer Juan Rico’s imagination to another plane. Its seven tracks are distilled and attuned sound collages, more in the freeform vein of Murcof and Evan Caminiti than fellow European DJs Oscar Mulero and Mikkel Metal. 

Evoking Kerouac Dumbsaint's Cinematic Opus 'Panorama, in Ten Pieces'

Evoking Kerouac: Dumbsaint's Cinematic Opus Panorama, in Ten Pieces

In 1958, Jack Kerouac listed 30 guidelines for executing better prose, providing valuable insight as to how the celebrated writer approached his craft. A proponent of Allen Ginsberg’s “first thought, best thought” philosophy, Kerouac championed unedited writing as one way of accessing the subconscious, and his often raw prose shows it. Kerouac was also a fan of creating words, as in his sixth instruction: Be crazy dumbsaint of the mind.

Published at Pop Matters

NoinoNoinoNoino’s 8

NoinoNoinoNoino’s 8

“Supergroups” or even any true collaboration can be a hazardous propositions, but fortunately they often enough bear fruit. NoinoNoinoNoino’s 8 cassette for Caoutchou Records documents one exemplary success. The collaboration brings together Kiki Hitomi’s freaky avant J-pop, Dead Fader’s sinister bass music, DJ Die Soon’s skittering experiments, and DJ Hotel’s dark electro hip hop.

Published at Decoder Magazine

Dane Law's "r.bit"

Dane Law's r.bit

First you make a roux. The adage of cajun and creole cooking is so familiar that it can even be applied to music. If the story is to be believed, Dane Law discovered an Orbit techno tape in an abandoned car off a North West England highway — a relic that would provide the source material roux to produce r.bit, a collection of disfigured tracks chopped and splintered beyond recognition. Aside from Orbit, the sound emerges from the murky world of Chain Reaction and Basic Channel by way of Autechre.

Published at Decoder Magazine

Glenn McDonald

On Wandering the Paths of a Spotify Analyst's Mad Music Map

Have you ever wondered how many music genres there are? Spotify data analyst Glenn McDonald has an answer to the question—and he’s built the map to illustrate it. Every Noise at Once catalogues over 1,500 genres ranging from the esoteric (modern uplift, deep discofox, power violence) to the outright bizarre (solipsynthm, terrorcore, and something called catstep).

Published at Pop Matters

Raving Iran

How Two DJs Are Defying the Iranian Government with Techno

Since the late 1970s, the Iranian government has regulated many of life’s pleasures, including music. Imam Khomeini considered the art “no different than opium” — a sentiment that was echoed in a conservative Iranian newspaper: “Whoever acquired the habit [of music] can no longer devote himself to important activities. It changes people to the point of yielding to vice.” Live performances halted for a decade. Music schools shuttered.

Published at Hyperallergic

Tristan Perich

Tristan Perich: Working Inside 1-Bit's Insane Limits

Personal computers stand as one of the most substantial inventions of the 20th century, to some great extent because of how they’ve reframed our very identities. Our laptops, tablets and phones intersect with many branches of our lives, especially the methods by which we entertain ourselves.

Published at Decoder Magazine


Schnellertollermeier’s Brutal Jazz Explorations

September 1962: jazz legends Duke Ellington, Charles Mingus, and Max Roach gather in New York City for a session that sets the standard for the jazz trio. Their Money Jungle session is a master class in performance in which the musicians improvise off each other rather than giving one player the solo spotlight. The influential work is a synthesis of two members of the new guard (Mingus and Roach) and a composer more known for his big band style.

Published at Echoes and Dust

Mark Reeder

Pioneer Producer Mark Reeder’s History Of Electronic Music

Mark Reeder is one of those people who can sniff out a scene. Being friends with Joy Division and producing the last East Berlin band before the Wall collapsed is impressive enough, but Reeder has never liked to stay stationary. Finding himself in a united Germany and a new musical world, Reeder moved on to start the influential and prolific Masterminded for Success (MFS) trance imprint before pioneering the Flesh label that focused on “wet and hard” techno of Eastern European electronic music.

Published at Subrewind


They Call It Skweee: Investigating a Microgenre

The dawn of the century has seen a fragmentation of musical expression arranged into literally hundreds of microgenres. One of the more curious examples is skweee, a Scandinavian sound characterized by squealing, goofy synthesizer lines, an infatuation for vintage electronics, and off-kilter rhythms. Skweee is influenced by late-70s and 80s obscure funk, electronic disco, Kraftwerk and pioneering dance producers like Patrick Cowley.

Published at Subrewind


Sigha's Metabolism

Sigha’s James Shaw is a versatile producer whose second album Metabolism further pushes his limits. Metabolism‘s twelve tracks showcase a schizophrenic range of styles that make for a pleasantly unpredictable and rewarding listen. Developing his chops with laidback dubstep tracks released on Scuba’s Hotflush imprint and moving into a more straightforward techno arena, his first LP Living With Ghosts showed the first signs of stretching from convention.

Published at Echoes and Dust

Loren Connors

Loren Connors at Issue Project Room

Early last October, French guitar and electronic pioneer Richard Pinhas played to a packed crowd at an Ambient Church event in Greenpoint, Brooklyn. The show highlighted the reverberant cathedral’s natural acoustics, and Pinhas obliterated everyone’s ears with a dense, overwhelming dirge of noise that left little to subtlety.

Published at Echoes and Dust

Movements in Modular

Movements in Modular at National Sawdust

The recent revival and excitement over modular synthesizers, chronicled in the documentary “I Dream of Wires,” is reaching critical mass and trickling into the performance arena. No longer do New Yorkers need to head to fringe electronic music festivals to see someone tinkering with a modular creation – now, it’s right in our backyard.

Published at Echoes and Dust

Floor Overhead

Floor Overhead's A Passive Bludgeoning Force

Positioning itself between post rock and ambient,Floor Overhead‘s majestic A Passive Bludgeoning Force presents deconstructed guitar work that is epic in scope yet maintains its calm; evoking the wide expanses of nature. Think Sigur Rós crossed with Russian Circles, or Ben Frost mixed with Fennesz.

Published at Echoes and Dust

Jesse Osborne-Lanthier

Jesse Osborne-Lanthier Concludes Unun Series With Unalloyed, Unlicensed, All Night!

Raster-Noton, one of the largest and most visible imprints representing a stunning array of literally dozens of experimental electronic artists (Vladislav Delay, Senking, Kanding Ray, Mika Vainio, Rjoyi Ikeda, Alva Noto, and many others) concludes its nine-part Unun series promoting young talent with Jesse Osborne-Lanthier’s debut for the label.

Published at Subrewind

Prince Rama

Prince Rama Chats Ego Deaths, Energy Drinks

The world of Prince Rama is one heck of a ride. Sisters Nimai and Taraka Larson crank their affection for the eighties into a frenzied, neon mix of nostalgia contoured through their blend of dance music. Their flirtations with both experimental and pop forms are but one part of an interdisciplinary artistic practice.

Published at Subrewind