This year’s best electronic albums span the widest range of styles of any genre, ranging from poppy and melodic electro to the experimental outer reaches.
DJ Sun discusses how he started DJing, his process for making albums, sampling 1970s porn records, and recording an LP about discovering his Chinese heritage.
FaltyDL’s A Nurse to My Patience is home-alone, headphones-on, glow-of-a-smartphone-in-the-dark indie music. It’s the sound of the demons dancing in his head.
Producer Hagop Tchaparian conjures up a unique, bracing meld of electronic and traditional Western Asian instrumentation on his debut album, Bolts.
Three decades later, CeCe Peniston’s Finally remains a thrilling record that boasts some of the most memorable dance music of the last five decades.
In this exclusive interview with PopMatters, Lisa Fischer shares how music has shaped her life, from performing with Sting, Tina Turner, and Chaka Khan to collaborating with ballet companies and symphony orchestras.
Chicago’s Brandon Markell Holmes and Rogue Vogue create gorgeous, moving, forward-looking electrosoul on “Garden”.
Like all the best dreams, Ground’s Ozunu stays both bizarre and entertaining the whole way through. The folkloric house achieves nothing shy of perfection.
Dawn Richard’s Second Line is a gorgeous record featuring fantastic, strange, esoteric sounds playing with house and club conventions. It’s a pioneering record and easily one of the best of the year.
Dâm-Funk creates funk as ambience on Architecture III, the blunter edges chiseled, the song structure replaced by trance-inducing not-quite-dancefloor minimalism.
Elkka’s Euphoric Melodies is full of pulse-quickening beats and dizzying synths imbued with a sense of inclusivity for life-affirming moments on the dancefloor.
Rare, Forever may be Leon Vynehall’s most daring work, but unfortunately, the result is just too cluttered to achieve any sense of artistic transcendence.
