Blanck Mass proves that electronic music is one of the few genres evolving and innovating right before our very ears. In Ferneaux is evidence that even if one guy has conceivably “done it all”, there’s still plenty more to do.
Yellow River Blue is the latest in a string of success stories for electronic producer Yu Su, and it's her boldest, most eclectic statement yet.
Following a decade-plus break from official studio albums, Cabaret Voltaire are back with a bevy of releases that shows the electro icon empowered, recharged, and as mired in dissonance and drum beats as ever.
Animated Matter's debut Selkie sports alternately lush and minimal, buoyant and chthonic, soundscapes that conjure archetypal themes and evoke complex emotional responses.
The latest compilation from Light in the Attic's "Japan Archival Series" explores the edgier pop that rose out of the age of prosperity and consumerism.
J Dilla's Welcome 2 Detroit announced where hip-hop could go in the 21st century. This reissue, expanded and spread over 12 seven-inch records, with a book that tells the whole story, reveals just how crucial an album it remains.
It was thrilling to think of where SOPHIE was going to take us next after having deconstructed both club music and pop. But even without her here to lead us, the tenacity and impactfulness of her bold body of work can guide us.
The music on the Notwist's Vertigo Days is "organized sound", as modernist composer Edgard Varèse would say. It clangs, hisses, and pops with human voices, clattering synths, and stylized repetitions.