McKenzie Wark’s understanding of ravespace as a constructed situation in nonlinear ketamine-time comports with my experience raving on weekends as a freshman in college.
Orbital’s Optical Delusion is what we have all grown accustomed to with them, but there are plenty of bold moments that skew the imagination with each revisit.
Blending Algerian Raï and Gasba, Syrian Dabke, Turkish dance, and floor-shaking Chicago Acid moves, Acid Arab make music targeting hips with surgical precision.
Producer Hagop Tchaparian conjures up a unique, bracing meld of electronic and traditional Western Asian instrumentation on his debut album, Bolts.
Electronic producer Daniel Avery’s Ultra Truth is both a danceable and listenable collection that packs a corporeal punch and a spiritual cleanse.
From 10-12 June, the newly-founded festival Tempelhof Sounds will take its place among Germany’s biggest events, with a great chance of success.
Trentemøller’s Memoria is intended to be listened to in the dark: total darkness, total immersion. Added visuals would just be sensory overload.
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.