The current resurgence of Britpop could trigger nostalgia for late 1990s big beat like Lo Fidelity Allstars, while trip-hop remains a vital influence.
Twenty-five years old today, David Bowie’s Earthling embodies multifaceted, sometimes contradictory currents of 1990s pop culture, including industrial metal and drum ‘n’ bass.
Lee Gamble’s music asks: how far you go before that human core is lost? How futuristic can techno become without losing its playfulness and elasticity?
Stigma’s Too Long is a seven-track vortex of sinister filter sweeps, bleary-eyed synths, and detonating rhythms. As his music gets darker and weirder, it gets better and better.
Graham Haynes vs Submerged’s Echolocation marries drum ‘n’ bass with jazz and stirs cyberpunk visions of electronic music with the work of Miles Davis.
Squarepusher’s debut album, Feed Me Weird Things, gets a welcome reissue from Warp Records. “Bass guitar over electronic music” is his center—the mantra he has kept returning to for 25 years.
Shades of drum and bass, techno, and grime all appear but are warped and distorted via Basic Rhythm’s cool, muscular production style on Electronic Labyrinth.
West London producer WheelUP reached across the pond to Brint Story to bring some rapid-fire American hip-hop to his broken beat revival on "Stay For Long".
The most impressive thing about Nahash's Flowers of the Revolution is that it's so unabashedly political despite being almost devoid of vocals. The politics come through in the struggle of contrasting elements.
Squarepusher's Be Up a Hello asserts that what some would consider an outmoded sound palette can still be mined for fresh ideas, that IDM in its golden-age variety has yet to reach its zenith.
Greg Hates Car Culture ultimately stands out for more than being Venetian Snares' first vinyl release; it's the sound of a vital artist throwing ideas on a wall and seeing what stuck.