Richard David James was born on 18 August 1971 in Limerick and raised in Cornwall. The birthday gets marked every year. The more useful anniversary is the second half of that sentence, because the label he ended up co-founding was not built out of a taste. It was built out of a postcode. A supply […]
Every retelling of the Amen break opens with the same statistic: the most sampled recording in history, thousands of tracks deep. It is a true fact and a useless one. Counting appearances tells you the break spread. It does not tell you what anyone actually did with it, and that is where the interesting lineage […]
In 1983 Roland set out to fix a machine that was not broken so much as misunderstood. The TR-808 had been dismissed as a toy, its synthetic booms judged unconvincing next to the sampled snares of the LinnDrum. So the TR-909 chased credibility: a crisper snare, six-bit sampled hi-hats and cymbals, and MIDI to lock […]
Most scenes fight over who started them. Bristol spent the 1990s fighting over what to call the thing at all. The genre the wider world settled on, trip-hop, was rejected by nearly everyone who supposedly invented it. Massive Attack disliked it. Tricky disliked it. Portishead distanced themselves so firmly that they preferred to talk ab
Before it meant IDM, Warp Records meant bleep and bass: how Sheffield and West Yorkshire producers built British bass music out of steel-city sub-bass and Detroit futurism.
How a sealed bank vault under no-man's-land became the room that carried Detroit techno into reunified Berlin.
On 4 August 1947, in a Berlin still boxed in by rubble and occupation zones, Klaus Schulze was born to a ballet dancer and a writer. He would grow up to be named among the founding fathers of synthesizer music. The detail worth marking on his birthday is stranger than the title suggests: when Schulze […]
There is a useful test for whether a record is genuinely a source rather than a product. Strip away the melody, the vocal, the era it belongs to, and see if the skeleton still walks. Play the throbbing sixteenth-note bassline of “I Feel Love” with no voice on top and you are not listening to […]
Most instruments are designed, then learned. The Roland TB-303 was designed, abandoned, and only then learned, and the learning had almost nothing to do with what its engineers intended. That gap between purpose and use is the whole story, and it is a lesson every producer eventually absorbs. The technique can outlive the function it [&
For most electronic subgenres, the music comes first and the dancing follows. Chicago footwork ran the other way around. The tempo, the stutter, the way a single vocal fragment gets chopped into a weapon: all of it exists to answer a body moving inside a circle. Strip footwork of the battle and you have removed […]
