from The Album “Silent Of Light” PROGRESSIVE FOrM PFCD34 2013

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Halo may hail from the States, but Behind The Green Door operates more explicitly in a British rave tradition of rhythmic fluidity and exploration than anything she’s done to date. There’s a clear musical kinship between the music I’ve written about above (the likes of Elgato, Sensate Focus and Pearson Sound) and the bounding groove and hollow hi-hat ticks of ‘Sex Mission’ and ‘Throw’. Meanwhile ‘NOYFB’ ventures farthest from whatever imagined dancefloor you might choose to locate the EP on, and does so to tremendous effect (texturally at least it reminds me of Bee Mask’s When We Were Eating Unripe Pears album). Its fleet-footed percussion heel-toes just to either side of the track’s core pulse, while bell-like struck tones stretch out into echoing infinity, and a distant bleeping alarm runs almost imperceptibly in the background, just enough to set the senses on alert. [Source]

The foreboding synth experimenter Laurel Halo named her new EP Behind The Green Door after a famed ’70s porn movie, and the latest track she’s shared from it is called “Sex Mission,” so maybe there’s a theme developing here. Or maybe not; the eight-minute “Sex Mission” — like “Throw,” the last track she shared from the EP — is a rigid mechanical pound. [Source]

Experiemental dance musicians walk a fine line. On one hand, there’s a drive to push the limits of electronic invention; but then, you can’t ignore the beat. It’s a limitation to a physical, often emotional matrix. Diamond Version embody this conflict moreso than most. The duo, formed of German producers Byetone and Alva Noto, make driving, intelligent floor-fillers that are darkly ecstatic and drain the potential of this vernacular. [Source]

Despite its title, the French producer Rone’s “Bye Bye Macadam” never actually leaves the pavement; instead, it just rolls steadily, ceaselessly towards the horizon, with Koyannisqaatsi-inspired arpeggios doing a slow/fast tumble like hubcaps that seem to drift in suspended motion. Leave it to original night driver Juan Atkins to rebuild the engine from scratch and send the whole thing sailing into the stratosphere. The Detroit techno pioneer swaps out the original’s gentle undulations for rolled-steel drum hits and careening pings and squeals. It’s clenched and mean, far tougher than Atkins’ work with Moritz von Oswald on their upcoming Borderland EP, and easily as psychedelic. There’s even a touch of “Flat Eric” in the palpitating bass line, which lends an extra touch of intertextual bewilderment to an already dizzying ride. Rone’s Bye Bye Madadam Remixes EP, also including reworks from Aquarian and PLANkT, is out now. [Source]

Tour Dates:

25th April – XOYO – London – UK with Kaseem Mosse, Lee Gamble,Bill Kouligas and Untold
26th April – Donau Festival – Krems – Austria
27th April – Trafó – Budapest – Hungary
28th April – Festsaal Kreuzberg – Berlin – Germany
27th May – Melkweg – Amsterdam – Holland (with Animal Collective)
28th May – AB – Brussels – Belgium (with Animal Collective)
29th May – Trianon – Paris – France (with Animal Collective)

The duo of Hudson Mohawke and Lunice present a 1-track single and it’s quite frankly massive. More ravey than their eponymous EP, echoing the immense freneticism of their live shows. It’s all long builds, tinkly pianos, meteorite showers of synths and walloping, avalanche drops. [Source]

The Waiting Room is his third full-length release for Ghostly International under the moniker Lusine, and his first album since 2009′s A Certain Distance. As with all McIlwain’s work as Lusine, this is a record that’s characterized by both diversity and coherency. Its tracks traverse a variety of sonic landscapes, from the widescreen atmospherics of appropriately-titled opening track “Panoramic” through the digital soul arrangement of Electronic’s “Get the Message” and the club-friendly bounce of “First Call” to the slow-building Detroit-inflected closer “February”.

But for all The Waiting Room’s eclecticism, it’s also notable that it plays out as a coherent whole, with McIlwain’s deft production creating the sense of a single, logical journey — an album, rather than a simple collection of tracks. It also continues the excursions into vocal-led tracks that characterized A Certain Distance — exactly half of The Waiting Room’s ten tracks employ vocalists, most notably the aforementioned “Get the Message,” wherein guest vocalist and wife Sarah McIlwain makes Bernard Sumner’s words her own: “I don’t know where to begin / Living in sin,” she sings calmly, “How can you talk? / Look where you’ve been.”

As a whole, this is an album that’s both cerebral and visceral, a record that’s both rewarding of a serious headphone session and also warm and melodic enough to make listening as engaging in an emotional sense as it is in an intellectual one. Many artists flirt with these two extremities of electronic music; few tie them together as well as McIlwain does. [Source]