Squarepusher: Just a Souvenir
In the realms of experimental rock and future jazz, with a touch of electronic treatment and a few very tasteful drills.
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In the realms of experimental rock and future jazz, with a touch of electronic treatment and a few very tasteful drills.
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Move D is a producer whose music is all over the map. His classic album Kunststoff was a late example of “intelligent” techno, while his recent Workshop releases seem inspired by Detroit house. His three BineMusic albums (including another collaboration with Brunn) are generally dubby and downtempo, while his recent Modern Love 12″ is dubby and uptempo. As much as I appreciate David Moufang’s willingness to experiment, he may be a little too prolific.
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Somehow I missed out on the first couple of Flying Lotus releases, but Los Angeles is a whole lot of fun. This is instrumental hip-hop similar in spirit to Dilla, Dabrye, and Prefuse 73. Constant experimentation staves off any possibility of boredom.
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Kettel is one of the few electronic music makers to wear his heart on his sleeve. He isn’t afraid of sweet melody, and he has the confidence to mix old and new sounds. He follows up last year’s beautiful Whisper Me Wishes with some of the warmest acid tracks I’ve ever heard.
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If you like Analord and The Tuss, chances are you’ll love these two new 4-track EPs from Israel. Fava Beats is a collaboration between ±G6PD label founders Yaniv Navot and Eliad Wagner. Both CDs are outstanding.
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David Penna’s album from late last summer is wonderfully refreshing, making it a perfect choice for the first day of spring. Penna crafts drum and bass beats, but keeps them from sounding dated with sweet, jazzy melodies.
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The IDM revival continues with a new record from Funckarma. While I wouldn’t characterize this EP as ground-breaking, it certainly is solid and enjoyable.
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Autechre’s first album in nearly three years will probably take nearly that long to sink in, but my first impression is pure pleasure.
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This record immediately brings to mind folk/rock/experimental electronic groups like Animal Collective and Mum with its driving beats, acoustic guitars, shimmering electronics, and whimsical, wordless vocals.
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I had the misfortune of choosing to first listen to this mini-album by the UK duo known as Formication at about one o’clock in the morning, with powerful winds of 70km/h whirling at my window in the blackness. The ambience was creepy enough without the music, and when the first sounds of Agnosia began to fade in I feared it would be too much, but I listened, paralyzed.
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