electronica
Joe Muggs
The part-Japanese Brit Maya Jane Coles displays elaborate asymmetric hair, interesting piercings and enormous tattoos in her moody photoshoots, makes sounds that are uniformly smooth and high-gloss, and has a sonic palette that takes in populist trance, chillout and straight-up pop music as well as more nerd-cred underground sounds. And in an era of techno that's been dominated by Berlin-centric cosmopolitanisms – by sophisticated internationalist crowds with creative haircuts and intricately-knotted scarves as well as sometimes tediously tasteful musical minimalism – it'd be very easy to Read more ...
Lisa-Marie Ferla
News that Tunng were releasing a fifth album came as a bit of a surprise, given band founder and frontman Mike Lindsay’s recent relocation to Iceland (and subsequent reinvention as Cheek Mountain Thief). Of course nobody ever said that the band was splitting up, but in their decade together their work has remained so undeservedly underground the message may never have gotten out.It’s tempting to describe Turbines as Tunng’s most accessible album to date, given that its nine tracks see them dialling back some of the more obvious experimental flourishes which have set apart their sound even Read more ...
theartsdesk
Almost a decade on from their debut album, Tunng’s founding folktronic ethos no longer carries the shock of the new, but the sprawling and vaguely mystical collective continue to make ever more beautiful and interesting sounds. Turbines, their fifth album, is released on Full Time Hobby next Monday. To get in the mood, readers of theartsdesk can catch a world exclusive eyeful of the video for their new single “The Village”. Let us know what you think.
Thomas H. Green
Boards of Canada have it nailed. If we are to believe what we’re told, Scottish brothers Michael Sandison and Marcus Eoin are semi-permanently holed up in rustic heathlands south-west of Edinburgh, beavering with mystical intensity at analogue electronica. Every few years they release an enigmatic slice of it that’s pure, classic Warp Records on… Warp Records.They have developed a non-image that somehow intimates whiffs of the occult, particularly of The Wicker Man variety, of spooky 1970s public information films and general uncanny Berberian Sound Studio-style weirdness. Not since the prime Read more ...
Kieron Tyler
Rodion G.A.: The Lost TapesInitially, under Nicolae Ceaușescu, Romania’s borders were open: Blood Sweat & Tears, Duke Ellington and Louis Armstrong played there. But the regime tightened its grip after the dictator’s 1971 visit to North Korea and China. Ceaușescu fostered a personality cult, the world outside was largely shut out and Romania’s citizens had few chances to flourish artistically. Absolute censorship was imposed and the Securitate were the eyes and ears of the regime. Yet somehow, music was made, some of it released on the state-run Electrecord label. Rodion Roşca only had Read more ...
Kieron Tyler
Nine people are on stage. Male and female. None is singing. All are dancing. No instruments are being played. For a 20-minute, three-song segment of Swedish art-dance electro-tricksters The Knife’s London show the sound was of a live concert, but nothing else was. Then, for “Networking”, the stage emptied and the music continued. All that was left were lights beaming into the audience.Expectations were always going to be confounded by this ever-challenging sibling duo, but in presenting the show following the release of Shaking the Habitual as an experience rather than a gig, The Knife took Read more ...
Joe Muggs
It's pretty impressive that at 74 years old, the drummer Jaki Liebezeit should still be one of the most vital musicians on the planet. Maybe not all that surprising, though. From the moment in 1968 when he switched from free jazz to the narcotic jams of Can, he pioneered a rolling rhythmic style that suggested infinite patience and a man comfortable in his body, and it feels entirely natural that his beats should keep on rolling into old age. “Liebezeit” translates literally as “Love Time”, and it feels like he really does.Though he's collaborated with all kinds of big names including Brian Read more ...
Joe Muggs
Some 20 years ago, a series of albums called Artificial Intelligence on WARP Records aimed to promote techno as home-listening music. They made up a frequently sublime collection, but unfortunately the word “intelligence” in their title was picked up by a movement through the 1990s that became known, horrendously, as “intelligent dance music” (IDM) and tended to the belief that intricacy and awkwardness made music somehow superior to that made with more sensuous or hedonistic aims in mind.Thankfully, in the wake of dubstep in the 2000s, the experimental and the danceable began to overlap Read more ...
Joe Muggs
On hearing the opening track of this album, a friend said “I didn't expect to be listening to new albums of the YYYs 10 years on!” And this is kind of understandable: of all the new rock bands of the early 2000s – The Strokes, The Vines, The Hives, The White Stripes – they had the most air of hipsterism, their kooky demeanour and New York clubbability making it understandable that some could think they were a trend-driven flash-in-the-pan sensation.In fact it was their NYC compatriots The Strokes who all but collapsed under the weight of their own archness, while in contrast what drove the Read more ...
Kieron Tyler
Shaking The Habitual’s centrepiece – the seventh of its 14 tracks – is the 19-minute “Old Dreams Waiting to be Realized”. A tone which ebbs in and out, it’s occasionally underpinned by distant rhythmic colour. Although thoughts inevitably turn to the similarly lengthy “SDSS1416+13B (Zercon, A Flagpole Sitter)", the 22-minute amelodic experience exemplifying Scott Walker’s recent Bish Bosch, the astonishing Shaking the Habitual is, over its 97 minutes, an album retaining connections with what is recognisably music. Even so, it’s still pretty far out.Karin Dreijer Andersson and Olof Dreijer – Read more ...
Thomas H. Green
To the left of the electronic pop that dominates radio and the charts sits music which is that bit artier, emanating more class, imagination and sonic inventiveness. Think SBTRKT, Jessie Ware, Frank Ocean or Aluna George. Far, far to the left of that, then, out in a smeared alt-reality where Aphex Twin’s “Windowlicker” is the template for all, sits Lapalux.Twenty-five year-old Stuart Howard from Essex first popped onto most radars last year through a pair of 12-inches with incongruous cover art, images of posh Keira Knightly-esque models sprawling, pouting, smoking cigars. It looked like the Read more ...
Joe Muggs
The portents were good. The single “Heaven” emerged with all the melodrama and crypto-religiosity hardcore Depeche Mode fans have loved – Dave Gahan hitting some notes that suggested he's spotted certain tics that Muse's Matt Bellamy has nicked from him and gone “ahaa no, THIS is how it's done.” It's a dirge in the best sense, a gorgeously crushing piece with – thankfully – digitally degraded sounds and robotic drum-rolls putting the guitars and pianos in their place: this is Depeche Mode at peace both with their stadium Goth stature and their history as electronic innovators. The follow-up “ Read more ...