electronica
Thomas H. Green
VINYL OF THE MONTHWest Virginia Snake Handler Revival They Shall Take Up the Serpents (Sublime Frequencies)
Image
Californian producer Ian Brennan walks, loosely speaking, in the footsteps of groundbreaking (and controversial) father and son song collectors, John and Alan Lomax, who, between them, gathered an essential storehouse of American folk music in the early-to-mid-20th Century. Like them, he’s interested in the cultural context of roots music and he’s ranged across the world, from Rwanda to Azerbaijan. His recent 2023 Parchman Prison Read more ...
Kieron Tyler
“Fuck Thatcher, fuck neoliberalism.” After these words from the stage, an audience response. “Fuck Thatcher” echoes the approving shout from the darkness.The performer expressing his views is the Sheffield-based folk-rooted stylist Jim Ghedi. What he’s said has not come out of the blue. There is context. He is introducing “Ah Cud Hew,” a song included on his In the Furrows of Common Place album. He learnt it from Ed Pickford, a County Durham singer and songwriter with a family background in coal mining. The song – “I could hew” – is about the decimation of the coal industry during the Read more ...
Joe Muggs
One of the smaller but more passionately enduring subcultures in the world today is that around slow dance music. The core of its audience is a Gen X crowd, a good number of whom have stuck with club culture since the mid Nineties or earlier, with others who’ve rekindled their love of electronic music in middle age: people whose knees might not be up to stomping to techno for hours, but are still deeply committed to the experience of deep and prolonged immersion in repetitive beats.Belfast’s Phil Kieran is a key mover and shaker in this scene. Though his career began 25 years ago as a Read more ...
Thomas H. Green
Mandy, Indiana are a Mancunian four-piece with a French singer who's based in Berlin. They make a lot of noise. Their second album is a take-no-prisoners amalgamation of electronic squall, thrashy rap (a distant cousin of Dälek), and tints of deranged hyperpop. In an age when ever-increasing quantities of people seek soothing music, they are outliers. URGH is too cacophonic to be the making of them but those after a solid, catalytic bash around the brain may want to tune in.The album was flavoured by multiple operations undergone by frontwoman Valentine Caulfield and drummer Alex Macdougall Read more ...
Joe Muggs
Another interesting thing about the endless flux of the streaming era is that, for all that it’s supposed to homogenise and flatten things out, sometimes it ends up allowing more interesting things to belatedly get their due. Look at the way once-obscure musicians like Julius Eastman, Alice Coltrane or Arthur Russell have snuck into the vocabulary of alternative and even mainstream music. But also, acts who weren’t short of success or acclaim but were nonetheless perhaps considered a bit cultish, nerdy or niche have gradually achieved a sort of cross-generational depth and universality of Read more ...
Thomas H. Green
In the 1990s, the world of electronic music was a frontier where the unimaginable often happened. These were the days of early Aphex Twin, Basic Channel, Autechre and many more pushing at the vanguard, challenging what we might even consider to be music. A golden time, Musique Concrète’s underlying principles were reborn for a chemically enhanced generation of clubbers.Quarter of a century into this millennium, while there are still outliers (such as, say, Oneohtrix Point Never or Simo Cell), the zeitgeist has moved on and, since the advent of dubstep, the sonic frontiers feel well Read more ...
Joe Muggs
One of the great problems with modern music criticism is that it hasn’t got past the models of the second half of the last century, and this leads to some very serious seeing-the-woods-for-the-trees oversights. In particular “we” still haven’t left behind the conception that a movement only exists if it has a moment: an Elvis on the Ed Sullivan show, a be-in at Haight Ashbury, a Sex Pistols at the 100 Club. Which means that, because it can’t be pinned down to a particular time and place, a very, very recent shift that is way bigger than rock’n’roll, psychedelia or punk doesn’t even have a Read more ...
Guy Oddy
While it’s almost six years since arch Parisien hipster and former Eurovision performer Sébastien Tellier released his last album, he can hardly be described as a slacker. In the interim, there’s been three film soundtracks, two EPs and he performed at the opening ceremony of the 2024 Paris Paralympic Games – not to mention having to deal with an irritating case of identity theft.However, the untamed dandy has now donned his wide-brimmed hat and sunglasses once more and ventured into the recording studio to create Kiss the Beast, a diverse rainbow of electronica sounds that covers ground as Read more ...
Kieron Tyler
Whichever Way You Are Going, You Are Going Wrong is the debut album by the London-based duo Woo. Originally issued on the Sunshine Series imprint in May 1982, it was subsequently picked up for a 1987 US release by the LA-based Independent Project Records label. After this, Woo's second album, It's Cosy Inside, came out in 1989 on Independent Project Records. There was no UK version of the follow-up album back then; a US reissue on Drag City followed in 2012.When Whichever Way You Are Going, You Are Going Wrong appeared in the UK in 1982, NME’s review said “How strange that in a year so packed Read more ...
Thomas H. Green
VINYL OF THE MONTHManduria Bite Me (Wild Honey)
Image
The debut from Milan punkers Manduria is a six-tracker haemorrhaging rock’n’roll cheek and sass. They riff and fuzz and bang about without a care in the world, shouting and revelling in reverb mess, howling like Screamin’ Jay Hawkins while cranking up the amps like The Cramps, the rhythm section indulging in a mono-stomp that penetrates the inner brain like Joe Pesci’s vice. There’s a track called “I Hate to Think” and you don’t need to. On “Buongiorno” they slow things down for a dip Read more ...
Kieron Tyler
Heard now, 50 years after its release, Tangerine Dream’s Rubycon sounds like what it became: part of the musical template for Jean-Michel Jarre’s 1976 international breakthrough and also as an integral component of the records The Orb began attracting attention with in the early Nineties. Beyond the aesthetic ripples, a specific aspect of the May 1975 album was and is also significant.Rubycon was one of the first albums by a rock – in its loosest meaning – band to seamlessly incorporate the use of a sequencer. Those with the budget for the gear and the attendant technical know-how could Read more ...
Thomas H. Green
VINYL OF THE MONTHMartel Zaire (Evil Ideas)Montenegro-born, Cyprus-based producer Martel Vladimiroff is a hard man to find out about. His meagre online imprint and extensive global travels make him seem more like “an asset in the field” than a musician. Whoever he is, his new EP, four tracks drawn from his second album of the same name, is a unique idea, well-executed. Inspired by the imperial ravaging of Africa and the ongoing horrors of its modern equivalent, with the Congo as prime exemplar, it’s a conceptual head-trip. A dense gumbo of African field recordings and tribal drums play off Read more ...