Moondog died on 8 September 1999, four months after Mr. Scruff sampled Bird's Lament on Ninja Tune. His rounds, odd metres and city sounds were loop music before the machines.
Every genre has a signature sound that producers claim to have built themselves. The hoover is the one where almost nobody did. For thirty-five years the rave stab that opens a thousand records has travelled through hardcore, gabber, jungle, hard house, drum and bass and back into chart pop, and the overwhelming majority of those [&hell
Mono bass is not a law of physics. It is a fix for a mechanical problem in a disc cutting lathe, and it outlived the machine for reasons nobody planned.
Marseille has no Paris style club economy and a thriving electronic underground anyway. The reason is structural: a converted tobacco factory, a rap festival that adopted the machines, and collectives that double as political spaces.
In July 1992 Warp put an android in an armchair and called it electronic listening music. The sleeve was an instruction, the title was a joke, and IDM never recovered from either.
Sahko Recordings was founded in 1993 to release one friend’s music. Six years later a trademark letter took a character out of Pan Sonic’s name, and the album that followed was named after the gap.
For most of Japan’s postwar era, the thing that could get a nightclub raided was not the volume, the hours or the drugs. It was the dancing. A 1948 Law Written for Dance Halls Fueiho, the Law Concerning Business Affecting Public Morals, was enacted in 1948 under the Allied occupation. Its actual target was prostitution […]
Thirty-eight years ago this week, on 22 August 1988, 10 Records and Virgin put out a single that had no business existing. “Big Fun” by Inner City was not conceived as a hit, not written for a label, and not even actively pitched by the man who made it. Kevin Saunderson had recorded the backing […]
The remix is now so ordinary that it barely registers as an idea. Every release arrives with alternate versions attached, every streaming profile carries a shadow discography of other people’s edits, and nobody thinks of it as a format at all. But the remix was not designed. It was the accidental byproduct of two separate [&hellip
Before Auto-Warp arrived in 2005, every track in Ableton Live had to be gridded by hand, and for four years that tedium was somebody's paid job.
