I’m listening “I can remember an incident with my mother, when I was quite small.” David Toop’s words are carefully measured, like he’s meticulously constructing a sonnet from thin air as he puts them together. It lends a kind of poignancy to everything he says, something that demands the listener’s
The last time I saw Stian Balducci he was hard at work trying to get the attention of a Resident Advisor editor to review his most recent +plattform release, tm22. He had fashioned a cardboard cut-out of the man and proceeded to get the avatar’s picture taken all around Oslo
The music of Equis demands the type of introspective listening experience that doesn’t allow itself to go by unnoticed. Her latest tape, from Infinite Waves gnaws and claws at your attention through the opening bars with erratic and obtrusive saw-tooth wave murmurs ticking down like a clock until a vocal
Oliver Ho’s impact in the world of techno has hardly been a subtle one. Since his ferocious debut in the ‘96 for Blueprint, he’s been cutting an individual path through the genre, one that doesn’t compromise and feeds off some primeval energy buried deep within his listeners. Oliver Ho’s resolute
The slow, steady pulse of a four on the floor kick lightly punctures the air while a bass-heavy fog moves in, dragging the incandescent chatter of a bumbling sequential synthesiser behind it. Elijah Simmons creates a remarkable tension in the opening bars of Migdal David (Tower of David mix), one that
“The face of ‘evil’ is always the face of total need. A dope fiend is a man in total need of dope. Beyond a certain frequency need knows absolutely no limit or control. In the words of total need: ‘Wouldn’t you?’” This is how William S Burroughs defines the “algebra
Bunki’s history as an artist is a new one, and yet it’s already fortified as something significant in electronic music, especially on the eve of the release of his sophomore EP, Turn. Turn finds Bunki solidifying the sound of his self-titled debut, with music that plays in the ether as
Doncaster in Yorkshire is hardly the kind of place that inspires ideas of a creative hub, from which a forward-thinking musical artists like Mella Dee, real name Ryan Aitchinson, are born. “There was not a great deal there at all. It’s just a small mining town. It’s not a great
February 2016 saw the first performance of We, the Transposed, a collaboration between Cape Town-based dance company Darkroom Contemporary and Mischa Mathys (The Formant). The sound/dance installation featured processed field recordings taken from Johannesburg and transposed to Youngblood gallery as a spatial sound installation, which was then interpreted into movement by
There’s something stroking dissonantly at the thin threads that separate music from nature. A creaking percussive part snaps like a load bearing branch, straining under the pressure of an icy wind blowing through synthesised corridors. Somewhere a piano is tentatively searching for a way to express what it’s feeling and