PopMatters is moving to WordPress. We will publish a few essays daily while we develop the new site. We hope the beta will be up sometime late next week.
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.
Because it occasionally breaks new ground, Daniel Avery's Love + Light avoids being an afterthought from start to finish. The best moments here are generally the hardest-hitting ones.
Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.
Experimental electronic artist Gábor Lázár spins his wheels with a new album that's intermittently exciting but often lacking in variety.
Beats producer Mux Mool returns with Skulltaste II, ten years after the first and delivers the banging new single "Latest Sulk" as his statement of intent.
Chris Liebing's "Polished Chrome" first appeared on 2018's Burn Slow and features new wave icon Gary Numan. "Chris Carter is a real legend", says Liebing of the remixer of this track.
Producer Roza Terenzi's Modern Bliss shows she can take on many sounds at once—jungle, dub, trance, deep house, and classic Detroit techno—without sacrificing any flair or any nuance.
Sasu Ripatti's first Vladislav Delay album in six years, Rakka, is his shortest and most brutal, tying his electronic music legacy to his metal roots.
Cubicolor's meticulously crafted soundscapes morph from plaintive electronic pieces into uplifting dance tracks in the space of a single song. Hardly a Day, Hardly a Night is a richly drawn, triumphant record.
With Dwell, Recondite has once again created a superior set of sensitive, multi-layered compositions full of subtle shades that seem to exist in their own time and place.
Berlin-based techno producer, Phase Fatale discusses how music can operate as a means of control and how technology has entered the most intimate of human affairs.
Electronic music is a huge tent with so many diverse approaches, and it's more international than ever with producers around the globe pushing music forward. The year's best albums featured returns from established talents, as well as ground-breaking newcomers, and a host of women changing the old boy's club of electronic music.
To say Underworld's Drift Series 1 is an immersive experience is an understatement. It's an album that invites you to pitch a tent in it and hunker down for a month. Both Rick Smith and Karl Hyde sound inspired.
Floating Points' Crush is an album of profound contrasts. For every track designed to electrify the dancefloor, there is a gentle sweeping orchestral piece.
Cabaret Voltaire's Richard H. Kirk talks about two new collections of the legendary post-punk band's early music, an upcoming new album, and how he prefers to listen to music.
On Ways of Seeing, electronic producer and visual artist Konx-om-Pax moves away from dark ambient and rave to melodic electronica, alluding to the roots of Berlin techno.
Two recent videos from Rammstein and Hatari offer a study in contrasts and speak loudly to the challenges involved in authentically confronting colonialism through popular music.
Prolific electronic artist and label head, Carl Craig reflects on his most recent work, the state of music today, and his illustrious career.
Experimental electronic producer Burnt Friedman documents the musical melting pot of Berlin and Central Europe generally on his latest album. Watch his new video for "Supreme Self Dub".
Zoospa finds producers Machinedrum and Jimmy Edgar finding plenty of shared musical ground, laying charges, and then detonating them.
Brits in Hot Weather features five of the best new British songs. In this edition, we have trap-infused indie from 13XL, the compelling electronics of Le Module, anthemic indie from the Polarity, barrelling post-hardcore from Cagework, and sunshine filled house from Disciples.
Peter Ibbetson strips away the more soulful electronic elements and softens the edges of Harlequiin's "Eat Me Up Astoria", immersing the track in a hazy, digital mist.
On his debut album ATAXIA, Rian Treanor has mastered a whole new sonic vocabulary that gradually destabilizes and erodes existing principles and practices of electronic music to create something wholly unique.
Bjarki's Happy Earthday can be understood as a reflection of the artist who made it, as a representation of the power and majesty of nature, or simply as a brilliant, intricate electronic album.
Silk Road Assassins use sci-fi sound design as a means of exploring the minimalist structures of trap and grime on the magnificent State of Ruin.
Brainfeeder X is an important collection for those who are new to the label's output and for those who want to revel in its glories. A worthy celebration of a genuinely groundbreaking label.
The first taste of BeatLove's forthcoming Gorilla EP is the shadowy, beat heavy "Train", an electronic track with a post-dub vibe.
When the Prodigy boil their sound to its core, base elements, the results are explosive on No Tourists.
Austria's prolific, three-piece instrumental outfit Elektro Guzzi add horns to their sound with the daring, dynamic new album, Polybrass.
Austria's Elektro Guzzi have made their name as a live techno group that create their music through a blend of analog instruments and electronics, and interestingly, they don't use computers to compose or loops to drive the music.
Matthew Dear has written an album in Bunny that wholly reflects the person he is now, and it's the best record of his career.
In this edition we have Krautrock infused pop from Fröst, warm, ambient techno from Peter Ibbetson, shadowy post-punk from Vulgarians, spacious dream-pop from Dahlia Sleeps, and finally some kicking house from the returning Freddie Frampton.
On his latest EP, Aphex Twin abruptly pulls the rug from under your feet, turning his nostalgic IDM perspective into an etude on electronic music deconstruction.