Mujuice – Downshifting [2011]

Posted in electronic,glitch,idm,minimal,russian by jheisel on July 31, 2011

Gold Panda – Lucky Shiner [2010]

Posted in chillwave,electronic,idm by deek on December 14, 2010

Ever since Burial unleashed Untrue into the ears of those who knew nothing about dubstep, much less it’s many incarnations, there has been a delightful explosion of broken beauty in the electronic beats emanating from London-town. Many have attempted to imitate the musical and emotional depth achieved by Burial, but few have developed an aesthetic that reflects Burial’s but is wholly their own. Now, to say London producer Gold Panda is a direct progenitor of Burial’s UK garage inflected dubstep would be naïve, but what Gold Panda has achieved on his debut LP for Ghostly International is nearly as captivating, nuanced, and realized. It’s been just over a year since Gold Panda stood dubstep critics and fans on their heads with his gorgeous, withholding song “Quitter’s Raga”. Clocking in at just under two minutes, “Quitter’s Raga” displayed Gold Panda’s masterful sampling technique as well as his love for Japanese and Southeast Asian music and culture. Building the track around the majestic sounds of the Japanese koto, the song skips and jumps, edging closer and closer to breaking a part, but ends before it can. The beat structure in “Quitter’s Raga” recalls dubstep’s swing as it eases into a half-time progression, but Gold Panda has refrained from keeping this structure in his latest work, and to great affect. Lucky Shiner (the affectionate nickname for Gold Panda’s grandmother) is Gold Panda’s first full-length LP, and succeeds with an arresting and astonishing collection of sounds, imaginary places, heartache, and celebration. Recorded at his Aunt and Uncle’s rural cottage in Essex, Gold Panda spent two weeks alone, walking their dogs and marinating in a vision of melody and song structure that could be both personal and inviting. From the track’s opener “You” to the album’s closer, (also titled “You.”), the record is bookended by immediacy and intimacy, but travels through genre, place, and time through out the middle. Songs like “Same Dream China”, or “I’m With You But I’m Lonely” use sounds that manage to conjure a vintage, nostalgic vibe with out being heartsick; a xylophone, a Chinese zheng, a cheap Casio from your grandmother. The strength of the record warrants every track a thorough listen, but it’s songs like “Snow & Taxis” and “India Lately” that are the glue that holds the record together. Each song has expert structure, shimmering melodies, and enough drums and bass to put these songs in the club. It’s safe to say Gold Panda has quickly placed himself in a 2010 roster of excellent records, next to Four Tet, Caribou, and Delorean, all artists who already have a depth to their musical catalogs. I only hope Gold Panda won’t get lost in these comparisons, as his productions confidently stand on their own. -PopMatters

Lone – Emerald Fantasy Tracks [2010]

Posted in ambient techno,electronic,idm,instrumental hip-hop by deek on December 11, 2010

Matt Cutler, AKA Lone, first turned my head in 2009 with “Joy Reel / Sunset Teens,” which refracted the burgeoning sense of classic-rave redux (think Zomby) through the dewy ambience and nostalgia of Boards of Canada—a surefire combination, basically. Both tracks stayed in my head even though what was great about them was how they sounded, even more than the tunes per se. Nevertheless, as Lone has progressed since then—from Ecstasy and Friends and “Once in a While / Raptured,” both for Werk, to “Pineapple Crush / Angel Brain” and now Emerald Fantasy Tracks, both for Cutler’s own Magic Wire—he’s created a body of work that forms a continuous line. Which is funny, since one of Cutler’s real gifts is in his packaging; putting his singles on one of the albums would upset their balance as discrete works, carefully planned and executed. Yet everything is immediate: Lone’s riffs tend to grab and hold, and even when he’s muddying the waters with blobby bass and synths that seem daubed on, like bingo markers, he always presents a big picture with details. Emerald Fantasy Tracks bears a similar relationship to “Pineapple Crush / Angel Brain” that Ecstasy and Friends did to “Joy Reel / Sunset Teens”—it’s a slightly softened variation and expansion, more luxurious and therefore more adaptable for settling in for 40 or more minutes, rather than the zig-zag joy-buzzer feel of the singles. Relaxing the ear-grating quality of “Crush”‘s super-sharp synth riff, EFT is every bit as agog, as ravey—only this version is far more Detroit-centric than it is indebted to breakbeats and pitch-shifted divas. Just listen to the snare and hi-hat programming of “Cloud 909,” “Aquamarine,” “Moon Beam Harp” and “Rissottowe4,” whose accents and touches owe the Motor City, not to mention the industrial English North—to say nothing of the loosely lovely synth figures, calm string pads and a feel pitched between rock-the-house and know-thyself. Cutler’s ear for timbre and knack for sound treatments makes the entire album hum. At the center of “Reschooling” is a riff (played on a wooden xylophone?) that’s been treated to just enough filtering to make it go in and out of focus, giving the track even more of an undulating feel. So does the rolling bass of the finale, “The Birds Don’t Fly This High,” which provides an anchor for all that dazzling stuff before it; give Cutler credit for knowing how to come down as well as take off. -Resident Advisor

Autechre – Oversteps [2010]

Posted in ambient techno,electronic,idm by deek on February 24, 2010


Autechre is an English electronic music group consisting of Rob Brown and Sean Booth, both natives of Rochdale (near Manchester, England). The group is one of the most prominent acts signed with Warp Records, a label known for its pioneering electronic artists. Booth and Brown formed the group in 1987 while they were both living in Rochdale. They began by making and trading electro and hip-hop mixtapes, but gradually collected some cheap equipment (most notably a Casio SK-1 Sampler) and moved on to their own compositions. By the time Warp Records released their debut, Incunabula, they were employing a variety of electronic instruments to create their evolving style. Booth and Brown have explained that the name Autechre can be pronounced in any way anyone sees fit. They pronounce it “aw-TEK-er” (IPA) /ɔ ˈtɛk ɚ/. Autechre helped initiate the music festival All Tomorrow’s Parties in 2000, and were responsible for curating the 2003 festival. Autechre utilize a wide array of analog synths in their production as well as analog and digital drum machines and samplers. They have also made extensive use of a variety of computer based sequencers, softsynths, and other applications, such as Max/MSP.

Four Tet – There Is Love in You [2010]

Posted in electronic,idm by deek on February 15, 2010

Nalepa – Sunflowers (EP) [2009]

Posted in idm by deek on July 24, 2009

Lumen Lab – Comiendo Algodon En La Pista De Baile [2004]

Posted in electronic,idm by deek on June 29, 2009

aus – Antwarps [2008]

Posted in ambient,electronic,idm by deek on June 16, 2009

Aphex Twin – Drukqs [2001]

Posted in electronic,glitch,idm by deek on June 8, 2009



Clark – Totems Flare [2009]

Posted in electronic,experimental,idm by deek on June 7, 2009



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