Hans Kim is a cultural criticism writer and teaching candidate in Chicago. After graduating with a BA in cultural anthropology from the University of Illinois at Chicago, he is now completing a double BA in English and secondary education at Northeastern Illinois University. His publications includes several album reviews, contributions to list articles, and literary criticism.
You can reach him on twitter @hans_kim
The Weeknd's After Hours naturally weaves together cinematic vignettes of debauched Hollywood and Las Vegas nights, following a new filmic tie to Uncut Gems and a prior decade of character building.
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.
Ghostly International took over three of Chicago's best artistic spaces, the Metro, Smart Bar, and Notre Shop, to celebrate the culture and communities that supported their legendary 20-year creative mission.
On For You and I, Loraine James rightfully claims the title "Glitch Bitch" to explore what it means to be queer in the spaces of IDM and one of its places of origin, London.
On All My Heroes Are Cornballs, experimental rapper and producer JPEGMAFIA broadens his visceral online image and sounds into a more vulnerable, humanizing, and melodic project.
Salami Rose Joe Louis' 'Zdenka 2080' Tells a Dystopian But Still Hopeful Allegory of Ecocidal Capitalism
On the 22-track concept album Zdenka 2080, Bay Area musician and planetary scientist Salami Rose Joe Louis shuffles nu jazz, dream pop, and hip-hop vibes into the soundtrack for a dystopian sci-fi allegory of ecocidal capitalism.
Blanck Mass' Animated Violence Mild drops unrelenting electro-industrial melodies, practicing excess to explore personal grief and the global devastation of consumerism.
Lingua Ignota's second full-length CALIGULA continues her blend of opera, neoclassical darkwave, and death industrial. She transforms shattering lamentations into empowered declarations against misogyny, while also complicating the dominant narratives of women's trauma.
Carmen Villain's latest album Both Lines Will Be Blue veers hard from her last two albums, trading her psychedelic roots for spacious ambient dub.
Experimental composer and French poet Félicia Atkinson creates The Flower and the Vessel "with pregnancy", using small gestures to explore questions of ontology and becoming.
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.
Jambinai's ONDA finds cross-cultural influences from traditional Korean music, post-rock, and atmospheric metal, but their ethos is certainly more complex than a fusion or hybrid project.
On her third full-length PROTO, electronic experimentalist Holly Herndon wonders how AI can contribute to the longstanding human tradition of shape-note hymnals, exploring the possibilities and ethics of present and especially future AI protocols in art.
As a vast collective of collaborators joins for spoken word, orchestral ballads, and nostalgic trip hop cuts, UNKLE's The Road: Part II (Lost Highway) compiles as many ideas as it does features.
On Joni Void's second full-length Mise En Abyme, plunderphonic electronica is not only a technique for sound construction but also a deconstructive method for shattering and reordering the self.
On her debut full-length Death Becomes Her, Cape Town artist Angel-Ho introduces her voice and amorphous trans identity, dismantling the colonial imaginary and its supposed binaries.
SPELLLING's 'Mazy Fly' Revels in a Celestial Imagination, a Consciousness in Accordance with Afrofuturism and Wake Work
SPELLLING's second full-length Mazy Fly escapes present genres and ages, from witching primeval ballads, sultry alternative R&B, to intergalactic disco. Simply, it's celestial, Afrofuturist, and wake work.
On In a Paraventral Scale, the first chapter of the "triptych sonic documentary" Flush Real Pharynx, experimental electronic composter Lee Gamble explores the semioblitz of urban and virtual spaces.
Kid Koala returns with the second volume to his ambient-vocal collaboration series. Music to Draw To: Io, featuring Trixie Whitley, is an album that does not provide background music but an active participant of the listener's creative process.
Oneohtrix Point Never's latest EP Love in the Time of Lexapro supplements his prior 2018 full-length Age Of, with a small collection of exclusives and collaborative reworks.
After a four-year absence, Vessel's Queen of Golden Dogs leaves behind desolate beats for stunningly over-saturated electronic and chamber compositions.
On Primary Progressive, experimental producer Mr. Mitch reflects upon the contradictions of grime music and MS, "making the club both move and think".
Jlin Contorts Her Experimental Club Music into a Malleable Soundtrack to Wayne McGregor’s 'Autobiography'
Jlin's soundtrack for Wayne McGregor's Autobiography brings guttural, experimental club music from the dancefloor to the theater stage.