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.
Electronic producer Eomac relocated to the Irish countryside from Berlin and the result is an evolution of his sound on the new album, Cracks.
North London producer Loraine James finds romance and hope on her extraordinary album, Reflection. It’s a work of seductive, heartfelt brilliance by an artist at the peak of her powers.
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.
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.
Rare, Forever synthesizes Leon Vynehall’s musical instincts into one unique vision. Both beguiling abstract and instantly gratifying it’s as dizzyingly immersive as Nothing Is Still.