A Closer Listen
The beats are back! It’s time to move and groove with a full slate of electronic releases, designed to motivate and energize. This tempo-based genre ranges from the languid to the extreme, with everything between. This season we see further evidence of the machines taking over, from A.I.-generated electronics to robotic industrial tributes. But fear not; the human touch still remains. For now, we’re still in control, although the future remains uncertain. It’s more likely that we’ll share the planet until the icecaps melt and Skynet challenges the Matrix for supremacy.
Our cover image is taken from Floating Points’ Cascade, covered below; for more impressionistic art, see the artist’s new paint video for Key103.
One of the season’s highest-profile and most dynamic releases is Cybernetics, or Ghosts?, which includes contributions from multiple ACL favorites, including KMRU, Aho Ssan, PYUR and Ziúr. To sweeten an already-sweet pot, the album accompanies a printed anthology of fifteen short stories that reference Italo Calvino’s seminal work of the same name. The album also celebrates the 20th anniversary of Subtext Recordings (October 6). Dekmantel 10 marks the 10th anniversary of the influential festival with a seven-album box set spanning multiple electronic genres and featuring contributions from Karenn, Lee Gamble, Jeff Mills, Adrian Sherwood and more (September 13).
Ben Lukas Boysen was once known as Hecq, and “pure computer music” has always been close to his heart. On Alta Ripa, he returns to his first love. We can easily imagine a tour with labelmates Rival Consoles, as each possesses a warm heart despite seemingly cold interfaces (Erased Tapes, November 29). Fabric presents another in its series of fabulous mixes, this one from Rødhåd. The mix is high-energy throughout, a techno treat perfect for home, car or club (September 27).
Ant (Anthony “Ant” Davis of Atmosphere) opens his hip-hop vaults for Collection of Sounds Vol. 1, the first of four releases that highlight his strength as a producer. The liner notes invite rappers to contribute rhymes to the grooves, but we’re happy to hear them in these pure forms (Rhymesayers Entertainment, September 6). Those who enjoy this record will likely also appreciate Crespi Drum Syndicate‘s Beats, which concentrates on rhythm and percussion, operating as a set of sample-ready breaks (Isla, September 6). Hammond organ, synth and percussion make krejenski.‘s B-3 Vol. 2 an alternative jam record, drawing from multiple genres, but retaining a throwback flavor (Agogo, September 13).
We suppose it’s never too late for Songs about the Sun, but ELWD‘s EP sure sounds like a July record. Just close your eyes and imagine a tropical beach, a wooden chair, a drink in the hand (Noire & Blanche, October 4). In related fashion, Glenn Astro makes us smile by releasing Music for Autumn in its season. The laid-back grooves and slightly jazzy feel seem autumnal, while the beats occasionally retreat like leaves from an autumn tree (Tartelet, October 11).
Coming off his award-winning collaboration with Pharoah Sanders and London Symphony Orchestra, Floating Points (Sam Shepherd) took one left turn and then another. The first was to compose a score for a ballet performance; the second was to return to the dance floor. Cascade‘s tempos are steady while the textures roam the pastures; the production is incredibly clean throughout (Ninja Tune, September 13). Milio‘s Invisible Lands is another pure dance album, as positive and upbeat as its cover art. Koen Taselaar has also been honored for his visual work, and this album offers the best of both worlds (Atomnation, September 6).
Whatever happened to Amelia Earhart? Public Service Broadcasting brings their sample-based approach to The Last Flight, which is often as uplifting as an excursion in the sky, but without the unhappy ending. Some may call their music a guilty pleasure, but last year’s orchestral set raised our expectations of another triumph (So Recordings, October 4). Along the same lines, Jamie xx‘s comeback album features some prominent guest vocalists, including Robyn, but one in particular will be of interest to our readers. Early single “All You Children” features a rare appearance from Avalanches. In Waves is released September 20 on Young. Margay‘s Horizon EP is likely to cross over as well, on the heels of the Halloween-ready single Haunted (September 27).
The “synth sketches” of Luke Sanger‘s Dew Point Harmonies don’t sound like sketches to us, but compositions fully formed. The pieces are suffused with brightness, which matches the album’s inspiration: morning walks on the Norfolk coast, where early morning dewdrops dissipate in the heat of the rising sun (Balmat, September 6). This is hurricane season, so Photay‘s Windswept is arriving just in time. From “Low Pressure System” to “Derecho,” the producer makes the most of his newly invented “wind” synthesizer patch. The beats are languid, never quite approaching a storm, but the anticipatory feeling is ever present; one can even heard the wind chimes rattling (Mexican Summer, September 20). Ambience meets glitchy beats on 5ILTH, a combination that SUUMHOW works. (Sorry, we couldn’t resist!) The album is released on n5MD, which over the years has cornered the market on this instinctive blend (October 25).
Nídia and Valentina (Magaletti) join forces on Estradas, a supremely danceable record that combines the best of live drumming and electronics. The organic flair gives the album an extra aura of authenticity, informed by world music and a sense of exploration (Latency, September 13). Evan Chapman‘s Reverues may be an electronic album, but the spotlight is on intense, rhythmic percussion, as showcased on the first single Fractions (Better Company, October 11). Arsenal Mikebe combines live drumming with a repurposed RT-808, resulting in a frantic and urgent sound. This Ugandan ensemble is ready to pack the dance floor with DRUM MACHINE (Nyege Nyege Tapes, September 6). Not to be outdone, Chinabot presents IN THE SUN, a Tokyo post-industrial dance duo whose Dawn boasts traditional drums with a Taiko feel (September 27). VAAGUE also combines live electronics with drums, enlisting Stuart McCallum (Cinematic Orchestra) on Amsterdamn. Oktopus Mekaniks is out October 18 on Shapes No Frames.
The opening of Nico van Wrench‘s Psychose may be subdued, but with a title like that, one knows that the sonic agitation is on its way. Originally composed as the score to a dance performance, the music now wanders onto the world stage (Naked, September 20). Completed after Mika Vainio‘s death, the double-A sided Fermionit/Kulmamomentti now receives the extended treatment, with help from Jimi Tenor and Timo Kaukolampi. It’s yet another reminder of a life lost too soon (Sähkö, September 13). On the more abstract side of electronics we find Clan Caimán, who offer minimal grooves and a sense of spaciousness on Pica Pau (EM, September 20).
Harald Grosskapf, the co-founder of Wallenstein, has been active in electronic music since the 70s and is still going strong. Strom is the artist’s latest synth release, a throwback in one sense and a continuation in another (Bureau B, October 18). Also on Bureau B, Heiko Maile + Julian Demarre present the “Corona diary” Neostalgia, which toys with the sense of time distortion rampant during the pandemic (September 6). After ten albums and thirty years in the business, Monolake is still relevant, as shown by the creativity of Studio. Revisiting old patches and themes, Robert Henke sends them flying into the future (imbalance computer music, September 6). “23 is so yesterday,” writes Kompakt Records as they prepare Total 24, the latest in a series that has accompanied many of us throughout our lifetimes (September 6).
A real treat for those who have been around for a while or who simply love turn-of-the-century music, Styrofoam‘s the lost album (previously unreleased recordings 2001-2001) sounds so refreshing one wonders why it wasn’t released back then. Originally meant as the artist’s third album, this music languished for nearly a quarter century before receiving this timely release (September 6). Some people may remember Brian Duffy from Modified Toy Orchestra; the composer’s new synth work, Instead of Faint Spirit, is out September 6 on Buried Treasure.
Slow synth is the hallmark of Oneironaut‘s Alien Gnosis, which leads with a 24-minute single reminiscent of classic works by The Orb. Purposely retro, the sci-fi journey is both expansive and expressive (Avantgarde Music, September 6). On the same label and day, Destro releases the more aggressive Night of Vengeance, which draws upon classic sci-fi and horror and is meant to disturb; although the opening synth of “The Nighthawks” actually reminds us of Journey’s “Separate Ways.” The cosmic psychedelic sounds of Hawksmoor are meant to invoke an earlier and more carefree era; Oneironautics is comforting in its synth-drenched familiarity (Soul Jazz, October 11). “Synth wizard” Paul White returns after a long absence to share Peace in Chaos, which draws upon film scores and video games for inspiration (R&S, October 11). Two decades into the business, Lifting Gear Engineer is now prepping his eighth album for release, armed with new gear and sounding simultaneously modern and retro Recovery is released November 2 on Machine Records. Veteran Joaqui is clearly in love with “Bladerunner,” as all four cuts of the Replicants EP reference the original film. It’s a fun ride and a reason to revisit the mythology (Thelema, September 30).
We’ve curious about the “invented instruments” on Jeff Snyder‘s Loom, although we can identify the synth and bass guitar. Multiple genres are crossed on this experimental album, which includes a soupçon of darkness suitable for the season (Carrier, September 6). Francesco Leali‘s Let Us Descend is slower and darker, inspired by a “culture of cults,” the ritualistic timbres enhanced by violin, viola, cello and double bass. The album gains power as it progresses, adding to the allure. Lead single “Catatonic Blue” contains no beats, so you’re just going to have to trust us (Until Riots, September 6). Released on Halloween, Rich God‘s Unmade seems to fit the holiday. Dark, dense and distorted, it may drive away as many trick or treaters as it attracts (Somewherecold). After decades in the business, The Bug is releasing his first instrumental album, and it’s a double LP. Machine is dour and devastating, packed with slow industrial rhythms and a sense of menace (Pressure, October 4). A “beached singing voice” dangles above the claustrophobic textures and industrial rhythms of Nzʉmbe‘s Ardor or Entropy, sliding into the heart of darkness (Drowned by Locals, October 18). Kyle Bruckmann offers a double album of industrial madness with DUTY CYCLE/ACTIVE CULTURES, an 80-minute set on Already Dead Tapes & Records. One album is filled with beats, the other with experimental textures (September 20).
The liner notes of Isgang‘s Camino a Liurna include a very interesting tagline: “inspired by a dark time in which iron predominated on earth.” The music is suitably occluded, with beats bubbling below the ether (Subsist & Faith, November 1). It’s only of five albums up for pre-order on the label, which really has its act together. The others are Obwigzyh‘s Nem Szép, a hard techno workout with intricate backdrops (September 3); KOSAA‘s Displace, which begins with atmosphere before escaping into the outer cosmos (September 19); Hypogea‘s Olga, in which organic instruments makes surprise appearances (October 1); and Ben Zed‘s Las mil y una caras, where beats and bass take turns in the foreground (October 15).
Tam Lin‘s “elastic instrumentals” hold court on Mutant Tangle, which honors its title with a creative combination of timbres. The percussive “Augmentation” is particularly appealing with its stereo effects and factory tone (September 27). A Taut Line is described as “damaged and disoriented,” which means he may not be invited to many family gatherings, but you’d definitely want him behind the mix. Restoration is filled with a variety of beats and textures, and is out September 6 on Diskotopia. maya dhondt‘s wow, x features an unusual combination of piano, electronics and avant voice, an outlier in the genre (Viernulvier, September 13). B.Visible records bright, sparkling electronica, and features a mixture of instrumentals and guest vocalists. We can’t stop watching the fascinating video for “Ella,” in which cars, planes and people use Valeria Menia’s body as a highway, and in which apples bob atop an underwater landscape. Life Is My Hobby is out October 11 on Matches Music.
The fact that CZiGO (Mark Donlon) is a jazz pianist factors strongly into the improvisational sound of Actant Theory. The rub: the improvisor is in many cases the computer. The album opens new ways of composing and listening, and is appropriately released on Machine Records (September 7). Millsart combines jazz with slower-than-usual techno on the four-track Powerland EP, prompting the idea of a remix EP down the line (AX, September 20). Two long pieces for organ and electronic pulses fill A Thousand Strings, the latest outing for Tiago Sousa (Discrepant, September 27).
Approaching electronic music from a rock perspective, Mazza Vision strips tracks down, then rebuilds them from the ground up. Ohm Spectrum is out September 27 on Sub Rosa. Dub and rock populate Stone Island Tracks, a desert-vibed collection from Brokenchord (South of North, September 9). Dub also features on the first track of Orsova, a new compilation from 12th Isle, before the album heads into parts unknown (September 9).
Disco house makes a welcome comeback on Hayley Zalassi‘s Lose Your Head, which should be apparent from the colorful, retro cover. The piano of “Raining Angels” makes it the early highlight (Shall Not Fade, September 13). Soso Tharpa definitely wants club goers to dance; there’s no letup on Fistful of Shells, which draws from multiple influences ranging from samba to breakbeat (Nervous Horizon, September 6). Dead Man’s Chest & King Kutless revive the acid breakbeat scene on Trip II Insanity, which is also offered with a t-shirt and poster (Sneaker Social Club, September 6). 90s rave intersects with Arabic pop on Marchadair, an energetic offering from ABADIR & Nahash that includes a pair of remixes (SVBKVLT, September 25). Drum ‘n’ lasers Freddy B, Minor Forms and Creatures team up on Wake the Funk Up. We’re not sure if the creatures on the cover are fleeing the dance floor or running toward it, but we suspect the latter (Sofa Sound, September 11).
Greek electronic producer Anatolian Weapons returns with Beyond, a collection of club cuts that fulfill the admonition of the opening track, “Just Dance.” A bit of acid is thrown into the house-tempo techno as well (Subject to Restrictions Discs, September 6). The new duo DEFTR injects a bit of ambience into Run Away, primarily in the opening and closing tracks; in the middle, the techno gloves are off. We’re hoping that the breakbeat-inflected “A Glimpse” is the next single (npm, September 20). In like fashion, Suumhow combines ambience and jungle, two tastes that meld like peanut butter and jelly. 5ilth is out October 25 on n5MD. Following an ambient beginning, DoorHead jumps right into IDM. 0pen22 is out September 6, with computer-friendy track titles (Not Yet Remembered).
Tsujinov calls his music “a weird debut from the future,” a blend of ambient and glitch reminiscent of video games. A number of singles have already been released, with the full-length Bushidoclast scheduled for October 1. Dub and IDM collide in a collaboration of sci-fi beats as DYL & Senking pool their creative resources. Diving Saucer Attack is out September 27 on Karaoke Kalk, preceded by the theremin-esque title track. We love the cover of DHÆÜR‘s Supercinema 05, billed as “the final chapter of the first story of Supercinema.” While the composers are different, all five releases, dating back to October 18, are informed by classic sci-fi films while sharing a visual aesthetic (Supercinema, September 6). There’s a rough edge to the new album from Sharp Veins, which we take as irony as the title is People Pleaser (Nowhere Places, September 27).
Rrose x Patagonia drop a surprise techno collaboration on September 20, which began when one artist heard that their cuts were being used in the other’s DJ sets more than any other. The mutual admiration shines through on Dermatology‘s glistening techno cuts. Although it sounds nothing like The Beatles, one might consider Gábor Lázár‘s Reflex the producer’s White Album. Even the Bandcamp background is white, and one anticipates an all-white dress code once the techno-IDM parties begin (raster, September 20). AAAA pays tribute to rave culture on X Scroll Era, folding in breakbeats, jungle and bits of trance. The title may be contemporary, but the vibe recreates that of the early 2000s (Umor Rex, September 13). The first single from Tiger Village‘s GRID WORK is strong and swift, and includes four non-album tracks, a boon for fans (Suite 309, September 10).
DJ Stingray uses industrial-strength beats to convey the intertwined worlds of A.I. and robotics. The INDUSTRY 4.0 EP is harsh yet rhythmic, the sound of an impersonal future (Tresor, September 20). DVS NME & Krypton 81 pay tribute to Das Muster on the techno-electro The Endless Pattern, a blast from the past (Pan-Am Tracks, October 4). Virus contains four cuts of pure, steady tempo techno, courtesy of Dynamic Forces (dolly, September 20). Aszent does the same on the Black Dots EP, leaving nary a second for a swig of Gatorade (Antimodus, September 20). We’re pleased that Ireen Amnes‘ Forbidden Memories EP is being released September 27, because it contains “October,” a perfect track for those earlier, more foreboding nights (KR3).
Vocoder features strongly in the Gaudi Kosmische Trio, operating as another instrument in the arsenal. As expected from the trio’s name, Torpedo Forward is an upbeat mixture of Krautrock and prog vibes (Curious Music, October 3). Spoken word and dark beats – with BPMs kept below 100 – populate Bodies, a beguiling entry from EPRC (Stray Signals, September 6). One of the most raucously appealing sets of the season, Dame Area‘s Toda la verdad sobre Dame Area marks a shift in sound from electro-synth to percussion-heavy industrial. The chants are reminiscent of Nitzer Ebb, while the energy never wanes (Mannequin, September 13).
Richard Allen
Tue Sep 03 00:01:04 GMT 2024