splesh

Saw him live once, hope to do so again sometime, glad he's given up the moniker since though. It's cringe as hell not to mention exoticist when white people try to make themselves sound like they're not for cool factor

Is that a new recording of this? https://www.discogs.com/Tom-Johnson-The-Chord-Catalogue-All-The-8178-Chords-Possible-In-One-Octave/release/628040 But on an 808?! (Rudimentary Peni rules, too, good choice)

I never got into them but always heard their name, how would you recommend getting into them if not chronologically?

Some techno... Prototype 909 - Joined at the Head (1997) Ben Klock - One (2009) ScanX - Chroma (1996) Cristian Vogel - Busca Invisibles (1999) some harsh noise... Cosmic Coincidence Control Center - Recorded Live At Broken Life Festival, Taipei, Taiwan September 9th 1995 and some electroacoustic improvisation... Günter Müller with Alan Courtis, Pablo Reche, Sergio Merce, Gabriel Paiuk ‎- Buenos Aires Tapes (2009) (which are incidentally three of my favourite musical genres)

Boredoms - Super Roots (1993) Noise/space rock/sound collage from one of my favourite bands, Boredoms. One of their least accessible albums but one that holds a special place in my heart, in part because it's from an era in which they produced most of the music I like of theirs, a period which also includes their albums Pop Tatari and Chocolate Synthesizer, the live album Wow 2, and the earliest recordings of the group's side project UFO Or Die. Voice of Eye - Transmigration (1995) Dark ambient/tribal ambient from an amazing duo who have been doing their thing since the early 90s (and were in a group together before that) who are largely distinctive for not using any electronic instruments. Transmigration is a concept album of sorts about reincarnation (which is sometimes referred to as the transmigration of souls) which you can tell from some of the song titles referencing some of the bardos of the Tibetan Book of the Dead. Nikos Veliotis & Klaus Filip - Slugabed (2010) Electroacoustic improvisation from a Greek cellist (Veliotis) and an Austrian (Filip) making computerised sounds who is probably best known for his sine waves making a gorgeous drone together. Released on Taku Unami's legendary (within the scene) label, hibari. Cute artwork of a donkey or horse man drunkenly asleep at the bar, too.

Great news! Shame there's no Drexciya subforum, I reckon it could even get more use than some of the extant ones

Will have to give this a listen, as I enjoy the man has put out some real classics back in the day, one of the earliest to release on Djax -- and what techno and/or house fan doesn't love that classic label

Looking fwd to hearing it. Fun idea

Quite tired with the excruciatingly samey 2-step dnb... this is a breath of fresh air in a way that even the old skool jungle revival is not

Thanks for sharing this! Very cool, really dig the vibe, the sound design, the rhythms, the BPMs... I'd love to go to a show full of this vibe; also inspired by some pretty deep stuff philosophically and I really like the artwork, feels psychedelic in a way that's a more honest representation

Can't wait!

Saw her live once with Shyboi and Ciel at a birthday rave for the latter. lmao that was the night I smoked crack, that was a fucking amazing, memorable night I won't soon forget. I'm still only on the third cut but this is kicking ass and getting me pumped, too bad I'm going to bed an hour and half from now and not out to a warehouse to dance with 200 other people ? Oh wait, that was Umfang not Umwelt ! Oops. Well, this is still kicking my ass and making me wish I was raving something fierce. Guess I have a new artist to check out. Thanks for the share, wicked album artwork, too

Nice! I remember enjoying this when I came out but I don't really smoke anywhere close to as much grass anymore nor do I watch Aqua Teen Hunger Force at all these days. I wonder how much that would affect my listening enjoyment.

A nice eclectic but tight house/hip hop set by a local, DJ sarovar, whose soundcloud page can be found @ soundcloud . com / fobbyjindal (I don't drink alcohol at all anymore but apparently this mix "pairs well" with a glass of "Barolo", but I'd say it would probably suit a spliff pretty nicely too, but that even without intoxicants, these are some excellent selections on his part) Tracklist: Jyoti - Bemoanable Lady Geemix Fonk Makaya McCraven - Suite for Artis Gilmore The Coup - Kill My Landlord Scienz of Life - Hot Bananas (Mark Farina instrumental) Damon Bell - Ting Foodman - Kazunoko Dego & Kaidi - Orbiting Uhura Neue Grafik - Why You Nilamayé - El Nazareno Moodymann - I Got Werk Pt. 3 MoMA Ready - Little Bit Short Bloom - Lucky Pup Bjørn Torske - Limb Fu Yak - Mido Mr. G - Jet Black Soso Tharpa - Ginseng Leonardo Martelli - 03 23 (Notte) Edmony Krater - Gwadloup (DJ Oil remix)

Even as much as "IDM" is a "boys club", it's not exactly a style brimming with stereotypical masculinity, you might even call it "wimpy" if you wanted to be pejorative. Trap and grime are very often masculine to a fault but not in their sound design so much as their lyrical content. Glitchiness - not especially masculine. Sub bass - I can see why someone would say that but they'd be way off base.

Absolutely totally agree that things like power electronics (hello Whitehouse, Sutcliffe Jugend) are often macho bullshit (as is, honestly a lot of music) and while one could call IDM a "boys club" in the sense of it being an area of music that is vastly dominated by men, I don't see how Arovane is an example of this. If sound design can indeed be described as "masculine" in some greater, stereotypical sense, I believe that would be far more fitting the likes of Excision, Datsik, and some of the more intense of the brostep producers. Yes, a lot of 2000s era IDM may not have aged well, but I really don't think Arovane is a good example. Uwe's music has often been unfavourably labeled an Autechre ripoff and while the influence of Sean and Rob is clear, he's also fairly original (still need to hear more Arovane but I think I stand by this). I think Richard Devine might be closer to what the reviewer's getting at.

In about a month and a week's time from the time I write this, Kampala's Don Zilla is going to release his debut full length on the Ugandan label Hakuna Kulala. Before this he has released From the Cave to the World in 2019 and remixes for Still's LP I in 2018. Tracklisting: 1. Full Moon 2. Tension (can be streamed on the bandcamp page) 3. Automated 4. Buziba 5. Entambula 6. Shots 7. Moving Space 8. Bujingo* 9. Ekivuuma *Promo video for Bujingo:

The amount of emissions from data centres, along with the manufacturing of more computers, routers, cell phones, tablets, and all the other internet technology, not to mention the mining of the supplies for the building of these things, and the growing numbers of devices connecting.

The previous instalment in this series, TemeTape 1, featured Simo Cell and Skee Mask doing some excellent stuff with each side a different BPM feel. I've never seen Skee Mask, Low Jack, or Peverelist live yet, sad to say, but I can certainly attest to Simo Cell's excellence as a live DJ who plays a range of fairly eclectic styles in a way that makes them fit together naturally in a way that makes for an awesome dancefloor experience. Already loving productions by all three gentlemen (and I think I've heard a mix or two by Pev besides just Simo Cell), I'm sure I will greatly enjoy these mixtapes https://simocell.bandcamp.com/album/temetape2-low-jack-peverelist-simo-cell "Keeping up the proper dancefloor traction of the label’s Simo Cell & Skee Mask sesh and E-Unity 12”, Brittany meets Bristol in a heavyweight showdown for Temetape2, working up one side of ruffly 138bpm steppers and one side of 100bpm (and below) dembow and dancehall mutations from the late ’90s to 2020. The trio's mutual love of Caribbean rhythms, and their diasporic offshoots, means the results are seriously rooted yet wickedly prone to ruder curveballs from the top shelf of both artists’ enviable collections. On the A-side Pev & Simo turn the timeline from early ‘00s to 2020 inside out, running killer drums and duppied sound designs from the early heyday of dubstep, thru the infectious percussions of UKF, to grimy breaks and technoid twiss-ups, including no doubt at least one of Pev’s own zingers up in it. With the flipside Low Jack and Simo bring the tempo down a few gears to work around slippery dembow patterns, shuffling up recent gear off Livity Sound with late ‘90s ragga instrumentals, proper, and at least a few of Low Jack’s bashy, dare-to-be-different edits for the meanest sort of clipped dancehall pressure." -boomkat.com

Well, yes, that's a fair point, but how about moving to simply downloading, then? 'twould have neither the harm done by the streaming nor the waste of vinyl, CDs, and tapes.

Maybe, but he's right about how much these streaming services rip off artists and change music discovery often for the worse, and there's also the environmental impact. Yes, many things harm the environment pretty drastically, some more than others, but if streaming audio and video could be reduced, it would surely be a boon.

As is often the case with Skee Mask, he has a lot of great tunes but I don't necessarily find the album as consistent throughout as some of his EPs but even then I often like his songs more than the particular collections and their orders. Will check out this Watching Airplanes act, though