Out of the murky synthetic texture of acidic bass contortions, reckless break beats arrangements and crisp, stabbing chords, emerges the Glaswegian producer, Alexander Hay as The Burrell Connection. Releasing a record a year since 2015, Hay has tentatively introduced the world to a sound which in 2018 hit its stride
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After a few long playing collaborations on Honest Jons, Shackleton returns to the EP format and his own label Woe to the Septic Heart! with the double header Furnace of Guts / Wakefulness and Obsession. The concept driven collaborations that preceded this release with of Anika, Ernesto Tomasini, and Vengeance
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Joy O (Joy Orbison), his music, his labels and his DJ sets, is something of an enigma. There’s something indistinguishable but refined in his collective works that eludes classification, but somehow defines his work. There’s usually a moment of illumination when you realise a track is a Joy O track,
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Google, Imatra Finland. The screen projects a mural of picturesque views, snow-capped furs, bavarian-style castles, billowing rivers in autumn and scenic forest landscapes. Like something from a Grimm Brothers fairy tale, there’s something incredibly surreal and yet completely tangible about the Finnish hamlet from the computer screen. It’s the kind
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Steven Rutter from B12 has had a complicated history with electronic music. What should have installed him an Mike Golding into the annals of music, never really transpired, even though their records like Electro Soma and Time Tourist are considered modern classics today. We talk to Steven Rutter about how
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Robin Crafoord is an artist, a DJ, and a facilitator and he warrants as one of the most innovative and progressive figures in Oslo’s electronic music scene. His musical career has been defined by a kind of all-encompassing machine music that has gone from Italo to Techno, and has always
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I haven’t felt this dismayed about electronic club music since House music moved into “lounge” bars in the summer of 2004 and joined forces with jazz in one of the genres more shadowy periods. It was a summer fedora-wearing pseudo boho chic “artists” forcing an improvised pedestrian saxophone, or some
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In our digital age, music is no longer even a commodity item. It’s artistic value has long ago been monetised, but in the present it barely holds any commercial significance. Music being streamed, downloaded and even bought on a physical format like vinyl or CD, has no monetary value significance
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We err on the dark side, with beats bearing teeth and sonic landscapes that’s dark and ominous in their delivery. These are the records forged in the brimstone basin of perdition, delivering punishing blow after blow and negating the obvious without straining the listener’s conscious capacity. These are records made
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A dissonant miasmic drone sweeps across Marc Kate’s Deface reducing the sharpened peaks and jagged troughs of his source material to a innocuous wispy ebb. The album hides an uncomfortable eerie dissonance in its sonic wake with the Californian artist yet again examining some socio-political discourse through his music. A
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