I think my first encounter with Little Simz was that one track where the intro sounds uncannily like Aphex Twin, and for some reason it gave me a cognitive dissonance that I found disturbing. That’s not a criticism — it was my weird reaction, and it’s on my. But I think I’m over that now, […]
Tag: year_2022
This record is a bit of a landmine to try to write about for anyone who is, like me, Officially Bad At Genres. It jumps around all kinds of dancefloor-friendly sounds, with bits of the ravier end of techno, skittering breaks, shuffling two-step, shimmering melodic electronica, and so on. Impressively, it does all these things […]
Christina Vantzou’s No. 4 was really impressed me back in 2018, and it remains a firm favourite. So I was obviously excited to hear No. 5. It wasn’t really what I was expecting, and at first I wasn’t sure what to make of it. I found this much less accessible: to be honest, if it […]
If you opened this expecting to read something pseudish about the latest electroacoustic experimental whatever, then I am afraid you are going to be disappointed. This record is gabber. It has hoovers and everything. I believe it is traditional to refer to this kind of thing as “face-melting”, and for good reason. It’s also insanely […]
I want to talk about just intonation. I know you can look this up on the internet, but most lay-person explanations tend to be all “oh no, maths is hard” and run away from it, whereas it’s really nothing more than a bit of multiplication, and it’s quite interesting. So let’s do it. Sounds consists […]
Ian William Craig is (sorry) one of those artists whose tracks keep getting thrown at me by recommendation engines, but never in a way that got my attention. I guess that’s the thing with algorithmic suggestions: you don’t get the context, and it’s a knight’s move away from any sense of curation, and if it […]
This is the debut album from Australian producer Alysha Fleiter. While it’s all firmly electro, it’s very much a thing of two halves, as the name suggests. In fact, she recommends that playing one side or the other individually according to your mood (something which doesn’t work quite so neatly on digital). The Day side […]
Félicia Atkinson is one of those people who’s floated around on the edge of my consciousness for yonks without quite managing to register properly. Well, that’s all changed with this quietly brilliant record. It’s based around an electronic ambience or neo-classical drone. There are occasional sprinkles of melody (a reverberating jazzy trumpet, a piano, a […]
Back in 1996, when I was hoovering up half the output of Ninja Tune, there was an album that came out on their NTone imprint. It was called 15 Levels Of Magnification, and it was the debut album by someone called Neotropic. It was kind of a darkly atmospheric downtempo breaks record. I loved it […]
I was dead into Maria W Horn’s 2019 album Epistasis, which was a fantastic bit of minimalism with influences ranging from black metal to Arvo Pärt. Fellow Swede Sara Parkman is a folk musician who describes herself as a mix of “Vikings and Berghain”. You can imagine I was excited to hear this collaboration. Reader, […]
dogrando writes about some records 