Review: New York City techno veteran Adam X returns to Long Island Electrical Systems under the ADMX71 alias, where he once again explores the outer fringes of experimental electronics on his latest LP The Aging Process, existing at the intersection of industrial, EBM and techno. Beginning with the contorted noise soundscape of 'Speaking Via Telepathy' he soon unleashes the seething brain bash of 'Sensor-Tised' followed by the strobing tunnel vision of 'Walking Through Walls'. Elsewhere, there's more dystopian themes aplenty as heard on the static TBM pulse of 'They've Instilled Fear In Us', or the pitch black war funk of 'Leading The Way' and the muscular slow burner 'Leading The Way'.
Review: During the 1990s, Age was one of the most used aliases of man-of-many-pseudonyms (and all round techno legend) Thomas Heckmann. He released many singles and two albums under the alias, with the first of the latter - 1994's "The Orion Years" - being the most celebrated. This 25th anniversary edition of that set proves why. While the track listing is slightly different from the original version (a couple of tracks have been omitted in favour of unheard cuts produced in the same period) it remains a fantastically spacey, far-sighted and sci-fi focused set that brilliantly blurs the boundaries between techno, acid, electro, ambient techno and electronica - all bubbly TB-303 lines, firm beats, alien melodies, deep space chords and undulating basslines.
Review: Black Truffle is celebrating the tenth anniversary of Oren Ambarchi's Quixotism with a special reissue, originally released on Editions Mego in 2014. This remastered edition, with enhancements by Joe Talia, brings back Ambarchi's ambitious workia summation of his past explorations and a precursor to future innovations. Quixotism presents a single, LP-length composition divided into five parts, anchored by Thomas Brinkmann's pulsating electronic rhythms. The album starts with delicate orchestral and piano textures, gradually evolving into a vibrant polyrhythmic shuffle featuring tabla player U-zhaan. Ambarchi's guitar traverses a wide array of acoustic spaces, from crisp, clipped tones to deep, reverberant expanses. The piece's slow, dream-like transitions and the intricate interplay of its elements reflect both a culmination of Ambarchi's previous work and a hint of his future directions. A fresh opportunity to rediscover the charm of Quixotism.
Review: Black Truffle's tenth-anniversary reissue of Oren Ambarchi's Quixotism brings renewed attention to this monumental 2014 release. Originally recorded with collaborators across Europe, Japan, Australia, and the U.S., Quixotism unfolds as a single, long-form piece split into five sections. Anchored by Thomas Brinkmann's steady, double-time electronic percussion, the piece gradually evolves from orchestral depth and subtle piano motifs (courtesy of John Tilbury) to a striking polyrhythmic shuffle, culminating in the final passages with U-zhaan's masterful tabla. Throughout its journey, Ambarchi weaves guitar textures that shift from clipped, sparse tones to lush, reverberated layers, creating an expansive yet cohesive sonic landscape. The interplay of acoustic and electronic elementsiranging from the Icelandic Symphony Orchestra's grandeur to Crys Cole's intimate contact-mic texturesiguides the listener through an otherworldly audio experience. Influenced by Cologne techno, Eliane Radigue's long-form compositions, and the fluidity of improvisation, Quixotism shifts in subtle, dreamlike transitions. Remastered by Joe Talia, this edition offers a clearer perspective on the album's intricate sound design, reaffirming its relevance while pointing forward to Ambarchi's future works like Hubris and Hence.
Review: This superb new record from AnD embarks on a conceptual journey inspired by the fusion of granular synthesis, innovative sound design, and rhythmic explorationd within polyphony. It delves into the cosmic phenomenon of star collisions as the artists leverage their background in engineering and explore mathematical intricacies surrounding the timing and impact of stellar collisions. Through a sonic landscape echoing the vastness of space, this record incorporates elements of white noise, fragmented breaks and minimalist synth arrangements that are said to mirror the mental experiences of the listener.
Review: Cititrax proudly presents the debut LP from Another Body Found here, which is the latest moniker of A// who is well known for his pioneering work as Le Syndicat Electronique. Emerging from the French underground with a dark electro, industrial, minimal synth and wave style, he has a stark and visceral take on raw energy and haunting atmospheres. There are plenty of mechanical, hypnotic beats here with heft bass and hints of dystopian fears. The title track reimagines Bronski Beat's 'Smalltown Boy' and strips it to its emotional core, 'Lost In The Northern Lights' has a cold, urgent sound and 'Murderous Earth' is brilliantly unsettling and melancholic.
Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: It's rare that an electronic album is the biggest album of the year, or at least the most hyped. That's certainly the case with Syro, Richard D James first official release under his Aphex Twin moniker for some 13 years. So, is it in any good? For starters, it sounds like an Aphex Twin album. Listen through to the 12 tracks, and many of his familiar staples are present - the "Digeridoo" era rave breakbeats, the mangled synth-funk mash-ups, the intoxicating ambient-era melodies, the warped basslines and the skittish drill & bass style rhythms. There's madness, beauty and intensity in spades. In other words, it's an Aphex Twin album, and - as so many have pointed out since the album's release was announced - there's no-one else quite like Richard D James.
Review: Some 25 years after delivering his debut 12", Richard D James hasn't lost the ability to thrill or inspire. By his obtuse standards, the material that makes up the surprise Cheetah EP is actually rather laidback and melodious. "Cheetah2 (LD Spectrum)", for example, sounds like a slow house jam written by robots, while the even deeper "Cheetah7B" shuffles along in a metronomic fashion, seemingly oblivious to the increasingly aggressive World at large. Of course, those trademark skittish IDM rhythms are present and the Cornishman has thrown in a couple of hazy ambient cuts for good measure.
Review: Originally released in 1996, Aphex Twin's fifth album in as many years meant business from the very moment the wild and whimsical opener "4" scribbled it way through the speakers. With jaunty jams such as "Cornish Acid" and "Fingerbib" running amok mid-set, Richard D James Album acted as a fine mission statement to expect the unexpected and never anticipate formula or form. And it still carries that very same message today. Essential.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Signals
Shadowspace
No Closer Than The Moon
Landfall
Zonal Prospect
Air Foundry
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The Frequency Domain label has been quietly issuing some of the most compelling electronica of recent times, with a staggering cast of characters including Anthony Child, Bass Clef, Luke Sanger and more delivering more introspective, experimental material over the past couple of years. Now it's the turn of Apologist, a lesser-known project from Brendan Nelson which manifested in one 7" back in 2006. If you appreciate dreamy, slightly dubby electronics which move through different moods and scenes without getting you up off the sofa, this is the perfect trip. Many layered, richly rendered and full of grit and personality, it's the kind of record you'll discover new secrets in every time you visit.
Review: Tristan Arp's second album on Facta and K-Lone's Wisdom Teeth is a multidimensional exploration of sound blending pin-drop rhythms, ethereal vocals and swirling ambience. The writing started in Mexico City and was completed in New York and through the tracks, Arp fuses modular synths, cello, found sounds and spoken word to craft a rich world where nature and technology converge. Inspired by the idea of machines collaborating with nature, the album's hopeful tone envisions a future of rewilding and new possibilities across tracks that were performed live and improvised throughout. Many standout moments include the 10-minute 'Life After Humans' which ogres a beautiful escape.
Review: Tristan Arp returns to Wisdom Teeth with his second album, 'a pool, a portal', blending modular synths, cello, found sounds, and spoken word. The LP, crafted between Mexico City and New York, continues where his debut 'Sculpturegardening' left off, creating an ambient soundscape where nature and machines co-exist. Featuring a collaboration with Guatemalan cellist Mabe Fratti, this record is a journey into a future where humanity and technology evolve together. The artwork, like the music, blurs the line between the natural and the digital.
Review: Space jungle master ASC returns with 'Hiding In Plain Sight', except this one is certainly not part of his usual repertoire. Rather than being drum n' bass, the producer focuses entirely on atmosphere and unusual rhythmic ambientscapes, leaning into electro when beats do pick up. Largely, though, this is a project that encourages sublime awe at the cosmos through huge synthwork, rather than drawing attention to its beats - a common trope for ASC. Favourites of ours include 'Orbiting Neptune' and 'Galaxies', both of which prove ASC has much more up his sleeve than most of his EP bits might reveal.
Review: Back in 2002, the Detroit Electronic Musical Festival concluded with something rather special: a rare live performance from the Aux Men - an expanded and upgraded version of legendary Motor City electro outfit Aux88. This must-have CD presents that performance, complete with the original introduction from Eddie Fowlkes and DJ Bone, from start to finish. Full of spacey synth sounds, heavy beats, weighty bass, it's effectively a whirlwind trip through the history of both electro and Detroit's contribution to electronic music history. Thus, we get killer versions of 'Planet Rock', 'Shari-Vari', YMO's 'Computer Games', tons of Kraftwerk classics, a breathtaking interpretation of Art of Noise's 'Moments in Love' and rip-roaring takes on foundational tunes by Cybotron and Funkadelic..
Review: Floppy haired indie techno wizard Daniel Avery has become one of the genre's most notable craftsmen. He has done fine projects with Nine Inch Nails's synth player Alessandro Cortini already recently but now is back with a superb new solo album for his home label Phantasy Sound. The 11-track work is composed entirely of piece he made for his London show Together in Static. It The socially distanced show took place at the recently restored Hackney Church which no doubt influenced the gothic sounds and shadowy drones that define the album.
Review: LILA mainstay Ayaavaaki and ambient veteran Purl speak different languages but used a translator to convey ideas to one another as they made this record. And they very much foment their own unique musical language on Ancient Skies, an album that blends ambient, drone and space music into richly layered soundscapes that are constantly on the move. Each piece is meticulously crafted and suspense you up amongst the clouds, hazing on at the smeared pads and swirling solar winds that prop you up. It's a record that would work as well in the depths of winter as a bright spring day such is the cathartic effect of the sounds. Beautiful, thought-provoking and innovative, this is as good an ambient record as we have heard all year.
Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.
Friday Afternoons, Op 7: A New Year Carol (part 2)
Challengers: Match Point
Compress/Repress
Review: When Italian film director Luca Guadagnino commissioned long-term collaborators Trent Reznor and Atticus Ross to write and produce the soundtrack for Challengers, he had a clear idea in mind: music rooted in Berlin techno and 90s rave'. Reznor and Ross undoubtedly delivered, creating heavily electronic music that veers between guitar-laden nu-rave ('Yeah x10'), throbbing peak-time workouts (the Moroder-goes-to-Berghain flex of 'Challengers'), tech-tinged nu-disco ('The Signal', 'The Points That Matter'), pitched-black EBM-techno fusion ('Brutalizer') and acid-fired insanity ('Pull Over'). There are occasional nods to more classical movie soundtracks - see the choral versions of Benjamin Britten's 'New Year Prayer' - but for the most part it is a thrill-a-minute ride through deliciously heavy rhythms, basslines and electronics.
Friday Afternoons, Op. 7: A New Year Carol (part 2) (3:00)
Challengers: Match Point (3:21)
Compress/Repress (2:25)
Review: Trent Reznor and Atticus Ross, known for their remarkable work with Nine Inch Nails and film scores like The Social Network, deliver a techno-charged soundtrack for Luca Guadagnino's tennis-themed love triangle drama Challengers. The score is a pulsating mix of electroclash, synth-pop, and driving techno, expertly weaving traditional instruments with electronic beats. Reznor and Ross take Guadagnino's vision to heart, crafting a soundtrack that not only drives the narrative but also challenges expectations with its bold, rhythmic energy. Tracks like 'Compress/Repress', co-written with Guadagnino and featuring Reznor's vocals, showcase their ability to blend artistic expression with the film's themes of control and power. Overall, this is a excellent soundtrack that works well to support the visual or just listening to it without having seen the movie.
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