Archive For The “electronic” Category
As excellent a collaboration as we are likely to hear all year; King Creosote’s ethereal folk, subtly enhanced by Jon Hopkins electronics and threaded with found samples. The songs are taken from various points in a twenty year career, re-recorded and sequenced into a coherent whole that presents in King Creosote’s own words, “a romanticised … Continue reading »
Phil Spektor meets the Shangri Las in electroclash car crash. What’s not to like? Reminiscent in tone of Groove Armada’s ‘Paper Romance’ this album takes tales of break up, revenge and despair, sets them to the most infuriatingly catchy melodies and whips a synthtastic souffle of pounding percussion, tinkling bells and girly vocals into one … Continue reading »
Something of a mystery surrounds this record – it was withdrawn a couple of weeks before its scheduled release date, but not before preview copies had been sent out to the press. it consists of twelve tracks, four of which resurfaced on “Nerve Net” and one on the CD single ‘Ali Click’. Others, if my … Continue reading »
Uplifting is not an adjective that has ever been applied to a Radiohead album as far as I know. And this is unlikely to break the mould. Quite what constitutes the vein of melancholy that this band taps into in the youth of the day is a complete mystery to me, however I have to … Continue reading »
Contrary, Provocative, Gorgeous, Dissonent, Ambient, Electronic, Organic, Percussive, Improvised, Experimental, Wonderful. He’s back and he doesn’t disappoint. This collaboration with Jon Hopkins and Leo Abrahams leans back towards the organic classical of his work with Harold Budd in places, teasing impossibly lovely melodies from the barest of instrmentation. Elsewhere we find dense and propulsive percussive 
“The road to the Western Lands is by definition the most dangerous road in the world for it is a journey beyond death…” William Burroughs Starting life as an avant-dance collective, by 1987 Bill Laswell’s Material epitomised a culture in fast forward, popular music eating itself. Fusion has never been so thoroughly realised as on 
The coolest man in pop, no question. This picks up where DeeLite fell down, mixing irresistibly snarky pop with a slightly surreal dancefloor sensibility. Created by TV on The Radio’s David Sitek, the album grooves like a dalek on vaseline. Cover of the year too
“The godlike genius of Johnny Halliday” is not a phrase that is likely to be heard too often in these parts. Putting to one side the noodlings of Gong, whilst savouring the Breton phrasings of Alan Stivell, it has to be said that with the exception of the occasional chanteuse, France’s contribution to alternative music 
A matter of days after the US Challenger Space Shuttle disaster, this explosive collaboration between Keith LeBlanc and Adrian Sherwood was released, single handedly defining the parameters of a completely different approach to record production. Taking as a starting position the ‘hard’ electro blueprint pioneered by ‘Tommy Boy’ records, this visceral mash up of samples 
A genuine oddity, cello, vocals and well, echo, this is as singular as it gets. Arthur Russell was the visionary genius behind Sleeping Bag records, a label that found favour with the genre hopping iconoclasts of the eighties club scene by fusing disco with the avant garde. This is a very different proposition, having more 
