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]
Laurel Halo returns with ‘Behind The Green Door’, a stripped back, rhythmic, and sonically absorbing EP. While re-injecting rhythm as the central focus, Laurel’s compositional senses of elevated flow and ambient detail remain intact, harking back to earlier releases like Hour Logic and the Spring 12″ under the King Felix alias. However, the rugged, minimal grooves on display point a new direction and shift in sound; these four tracks are hardware-only affairs developed from her live set, built from a kit focused on dancefloor-ready rhythms, enveloping bass, psychedelic detail and lush harmony. On ‘BTGD’, Detroit Techno influence from her Michigan upbringing shines in tandem with stylistic nods towards contemporary UK club music; at times cold, lush, sinister and elated, the EP is a meditative rush of exploratory dancefloor electronics.
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]
Seattle-based producer Jeff McIlwain’s work has long inhabited the fertile border zone between electronic pop and experimental electronic music — it’s a place that’s home to music that has both a brain and a heart, and McIlwain’s been exploring its boundaries for the best part of a decade now.
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]
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]
The Colonized EP sees Temple move away from the faster and melodic stylings of her previous work, and delivering two slabs of brutal industrialism instead. All three tracks bluster with a bullish brutality, but Temple does show moments of reflection and serenity, particularly in the title track, which Perc reworks with gravelly rhythmic mechanics and metallic textures; the digital version of the EP comes with two digital bonus tracks, one original and one further Perc remix. [Source]
Raw analogue alchemies delivered with all the sleek and polish of its black-on-black casing made Bryan Blacks EDLX debut last year as blackasteroid a truly memorable one, consolidating all of the Motor mans proven Paisley Park-honed engineering capabilities into a succinct and forward-facing EP. Defined by its gritty textures, fizzy white noise manipulations and a signature mechanical hum throughout, Black Acid achieved a uniquely tactile sound quality, reaffirming Bryan Black as a formidable one to watch under his revised blackasteroid guise. Recently Perc, Alva Noto, Len Faki, Angel Costa and DJ Emerson presented a series of pithy reinventions of the EPs three lead tracks: “Black Acid”, “Hydrogen” and “Pressure”, turning in a thoroughly versatile remix package complete with fresh nuances ranging from peak time basement material to more pensive headphone moments. A recomposed body of original “Black Acid” sonic material, once more sheathed in stunning minimalistic design this time in reverse: white on white, with contrasting materials (matte laminate on the cover and a high gloss UV varnish in the detail) providing the sole differentiating factor. This particularly considered art direction was the result of a creative collaboration between Bryan Black (a designer himself and responsible for the bulk of Motors artwork), Jochem Paap and EDLX designer Jan Willem van den Ban from Enchilada. Choosing to diversify from the usual colourfulness and moiré structures of EDLX, the monotone colour palette and minimal aesthetic sets these pieces apart as highly collectable art objects, meanwhile rendering the blackasteroid project in a very physical, very personal way thoughtful design in both sleeve and sound. [Source]