or concrete jungle, or rustic cabin, or bus, or pogo stick, or ER, or church, airport, zoo, art museum, helicopter essential listening for listeners of music. (Olsen)
When Scott Hansen moved to San Francisco for college in 1995, he was a rock fan. "I was listening to Megadeth and the Doors and Led Zeppelin when I came out here," he says. Soon, he met some school chums who played him some electronic/dance staples: LTJ Bukem and Roni Size and DJ Shadow. When he finished school, he moved to Sacramento, where he got involved with a local IDM scene with ties to the… more »
It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »
When Seth Haley was a young kid, growing up in upstate New York and searching for a creative outlet, he hacked into the school computer system so, as he tells us, he "could see how far I could go."
He might have continued with such dubious pursuits if not for a well-timed introduction to electronic duo Boards of Canada. A more informed friend sent him a copy of their sophomore album Geogaddi, the uninspired high school… more »
The most alluring dance music of the 21st century sounds a hell of a lot like the early part of the last decade of the 20th. There are many reasons for this, but maybe the biggest is Matt Cutler, the Nottingham-bred producer who calls himself Lone. He emerged in the late '00s as one of a long line of laptop-IDM producers with a J Dilla fixation. But 2008's Lemurian, his first release of note, is… more »
Although Boards of Canada’s blueprint for electronic listening music — aching electro-synth with mid-tempo hip-hop beats and occasional light scratching — isn’t quite a revolution in and of itself, Music Has the Right to Children is an amazing LP. Similar to the early work of Autechre and Aphex Twin, the duo is one of the few European artists who can match their American precursors with regard to a sense of spirit in otherwise electronic music. This is pure machine soul, reminiscent of some forgotten Japanese animation soundtrack or a rusting Commodore 64 just about to give up the ghost. Alternating broadly sketched works with minute-long vignettes (the latter of which comprise several of the best tracks on the album), Music Has the Right to Children is one of the best electronic releases of 1998. – John Bush