Sorry. I’m terrible at writing headlines, actually. I’m also mostly terrible at writing reviews. So let me just say that if you haven’t heard Horse Lords, the Baltimore-based indie band, since their 2010 founding, you deserve to. And they make a great argument for why alternative tunings really do matter in music.
File under artists who inspire us: Lee Gamble is for us the embodiment of thoughtful, adventurous sound making. CDM’s Zuzana Friday talks to him about his latest project, UIQ – one that brings rich discourse and dimension to music. -Ed. You could say that Lee Gamble has a degree in making abstract music – using samples, snippets, and elements of styles ranging from jungle to techno. The master producer ‘sound wizard’ contributed to PAN Records’ discography with a number of releases combining his musical roots and sound phantasmagorias.
Richard Devine’s Vimeo account is something special. It’s certainly partly theater – there’s something entirely alien about seeing a nest of gear, tangled in cables and blinking, as if modules have achieved sentience and starting interconnecting themselves. But behind that facade of nerdy chaos is some real thought about how to make sounds by creating unexpected combinations of signal processors. It’s something I’ve been discussing with a lot of people lately – this interplay between stability and instability, automaton and entropy.
Berlin’s Tresor club turns 25 this year, celebrating with a four day festival next week. And the lineup is just completely and totally insane. If you took, say, the Thursday night program out of context, you might be excused for believing it was the headliners for an entire festival. The festival says as much about the healthy state of techno as it does about Tresor – but Tresor is without question one of the venues at the center of that world.
You know a classic Roland 202, 303, 404, 606, 707, 808, 909, and whatnot can make techno. But in the hands of Andreas Tilliander, these vintage Roland boxes are like classical instrumentation. They can form delicate ambient ensembles, or dark, pounding rhythms. And far from being only a grid to switch on and off, they become improvisational tools that spawn live performances and organic sessions. It’s little wonder that Andreas goes by the moniker TM404 – the Swedish-born producer seems like he might have been raised by a family of Roland boxes rather than humans. So, we took the opportunity …
We have the technology. We have the capability to play live sets on mainstages. And for a brilliant example of that, look no further than the frenetic, exquisitely hyperactive acid performances of Skinnerbox. Their set at Fusion Festival from this weekend demonstrates that you can command massive mobs of dance lovers outdoors with live sets, too. And maybe you thought such things were confined to chin-scratching handfuls of nerds.
If you’re looking for the nerdiest way possible to market a music album, you’re going to have a tough time one-upping Aphex Twin. The Warp Records artist has used a rare British synth as the cornerstone of the record – one with a reputation for being impossible to use – alongside a speech synth for the ZX Spectrum computer. He and his label have been teasing the resulting EP with marketing that looks like a vintage synth flyer. But that’s not even the biggest measure of how serious he is about this. Aphex Twin went so far as to rent …
We live in worlds of displacement. Some of those new geographies are chosen, are freeing. This is the age of cheap airfares, of migratory artists crossing oceans, of global communication and spontaneous international collaborations. Then, there’s the inescapable darker side: forced migration, refugees. There are flights of fancy, flights of exile. And as through the history of music, musical practice traces those human movements. Karachi, Pakistan has served as a stage for very different kinds of displacement and resulting creative expression. Some of those were explored recently, which I glimpsed in a festival held by Berlin’s Hebbel am Ufer (HAU) …
In the heart of Brazil, baile funk is charting a new direction for bass music – soaking up influences from across the ocean in UK, mixing and evolving. And so we’re keen on the latest cut from Lisbon’s Enchufada label – that’s the label behind the likes of Buraka Som Sistema and Branko – a new collaborative gem.
Is IDM cool again? Like even calling things IDM? We think so. Now, there’s probably lots we could say about Autechre, but that’d take precious time away from you listening to all the Autechre-y Autechre that just Autechred into your Autechre. So, let’s just cover the facts, ma’am, in quick order – and they’re all pretty awesome. Of course, spoiler, all your fellow music nerd friends have been talking about nothing else on their Facebook feed today, but at least we can put this all in one convenient location: