Posts Tagged ‘glitch’


June 5, 2010

Some good electronic stuff I’ve heard lately…


Guido - Anidea

Guido dropped his debut album Anidea the other day, and Andrew Gaerig of Pitchfork called it “one of the finest post-dubstep full lengths yet.” They’ve been throwing the label around for a while, and some people I know laughed at it. What does it even mean, really? Isn’t it a bit too soon, considering we’re still sorting through dubstep, to call something post-dubstep? At first I scoffed too, but I thought about how the genre has advanced. Like Burial and Clubroot, Guido doesn’t quite sound like run-of-the-mill dubstep, not the kind that the dubstep DJs play anyway. But it fits the description perfectly: clattering heartbeat-speed beats, warbly bass tones, and atmospheric sampling make Anidea sound like a familiar dubstep album, but there are aspects of it that sound departed from the typical formula. The cinematic strings on the closing “Tantalized” are a good start; they are just one example of the many sample choices that give Guido his unique rhythm throughout the record. But Anidea is hardly a reactionary record. Above all, Guido specializes in locking into a rhythm and holding a groove for long periods of time. He does this particularly well on the album’s two vocal tracks, “Beautiful Complication” featuring Aarya and “Way U Make Me Feel” featuring Yolanda. The latter in particular is a killer track, retro but also futuristic. This album is loaded with goodies, so if you’re into electronic music, dubstep or not, definitely check it out.


Onra - Long Distance

Another label that’s been thrown around a lot at Pitchfork lately is post-Dilla. Using the phrase acknowledges a couple things, first and foremost being that J Dilla was a turning point in hip hop and electronic music, but also implying that Dilla influenced a lot of artists. Both of these claims probably hold truth. James Yancey’s style and body of work felt revelatory when they came out, and although it’s hard (at least for me) to namecheck DJs that take cues from him, it’s easy to hear his production value fingerprints here and there, and see his work being important not just now, but in the future. We can relate Dilla’s sound to French producer Onra’s earlier work in some key ways; 2007’s Chinoiseries, which contained only Chinese sample sources, featured cut-up vocal sampling and obscure vinyl melody-scrounging. The results were a little less earth-shaking, but the similarity is there. Now Onra is returning with another totally different LP, a future-shocked funk record called Long Distance. It still bears a resemblance in many ways of Dilla, but people who may have been following electronic and beatmaking music will immediately be reminded of Dam-Funk’s massive double album Toeachizown released in 2009. It reminisces of 80’s synth-funk while celebrating the new, ear-popping way of doing things in hip hop, and consequently we have a fusion of music that is both interesting and classy. At the very least, Onra sounds like he’s having a lot of fun here. The vocal tracks here really shine- in particular, “The One” featuring T3 of Slum Village showcases his abilities to step out of the limelight for an MC while sustaining his intelligent production work. Onra is an artist who simultaneously does a lot of interesting things without compromising any of them, and Long Distance is subsequently an album that sounds accomplished and assured, for whatever genre it’s in.


Oval - Oh EP

Markus Popp has always refused to follow conventions in songwriting and musical production since the earliest Oval works in the early ’90s, and his tireless creativity brought us brilliant albums like 94 Diskont which challenged the the way that people listened to music. The proposition of a new Oval release is enough to make glitch fans giddy just because of what it is, but Oh is exciting enough to earn its reputation. And for a whole new audience at that; Oh is not only a great glitch release but also a great electronic release, broad in its endeavors. First and foremost it sounds melodic, much moreso than than earlier Oval releases, and each of the fifteen songs has recognizable, though highly warped, tunes. Only two songs break two minutes, the rest keeping things very short as small musical vignettes. The two longer songs are particularly accomplished. The opening “hey” is wonderfully catchy and rhythmic, using some live instrumentation alongside warped synthesizers. “grrr” is more subdued, almost ambient in its progression. It is relaxing, sometimes sounding like free jazz while also sounding avant garde and contemporary, not unlike Music is Rotted One Note era Squarepusher. Most of the shorter songs are quite enjoyable too, abstractly melodic and quiet. All this makes for an all-around solid full listen, a lot to take in from an artist who has a lot of catching up to do with his fans. Perhaps what is even more exciting about the Oh EP is that it precipitates Oval’s upcoming full-length album, O, which will have some seventy tracks. If the modus operandi of Oh carries over, then we have a feast of mini glitch masterpieces to look forward to.


Off This Century – My Favorite Albums of 2000-2009

December 25, 2009

Autechre – Quaristice

September 24, 2008

Probably the most noticeable difference between Autechre’s latest LP Quaristice and their back catalog is song length. The electronic superstar duo is still cranking out experimental music, as signified by the complex rhythms, amorphous tones, and colorful aural textures, harkening back to their latter experimental albums such as LP5 and Draft 7.30. The difference is that the songs are significantly smaller, with a few notable exceptions.

These exceptions perhaps reveal a growth in soundmasters Sean Booth and Rob Brown. The first song to break five minutes is Simmm, which sounds much like a Tri Repetae b-side. An abstract but traceable pots-n-pans beat is built upon with very clean cut sounding IDM synthesizers until the latter half of the song kicks in with an assortment of sound experimentation that we would come to expect from more recent Autechre; synthetic sounds vaguely resembling water splashing, Mario going down a green pipe, or metallic pops are the norm for the duo. What makes Simmm particularly interesting is that it develops and ends within the five minute length comfortably. We can only guess, but guess reasonably that if Autechre made this song ten years ago, it would have likely continued on for an additional unnecessary five minutes. This improved awareness of time is applied with great success on some songs, such as Simmm and many of the more off the wall compositions on the album, which are not necessarily bad but do not need to be test driven or worked with for more than the two or three minutes given to them.

However, another thing that makes Quaristice a pretty bold album for Autechre are its ambient pieces, and it is difficult to say whether or not they were subject to deliberate timing decisions. The opening Altibzz is one such ambient song, and is destined to be an electronic classic. Probably the most beautiful piece the group have ever recorded, it shows an impressive amount of restraint with its soft synthesizer melodies that intermingle with one another to form brief and understated harmonies, the result being a mesmerizingly beautiful song that is full of life. The song clocks in at 2:52, and although many listeners could have probably listened to the song for five minutes more without getting tired, its brevity makes the song that much more delicious and fleeting, much like the shortest and sweetest pieces by Warp compatriots Aphex Twin and Boards of Canada.

But alternately, we have the opposite side of the spectrum with the less melodic ambient pieces. Of these, Paralel Suns is quite short and both Notwo and Outh9X are very long. The catch is that both seem to work, Paralel Suns being enjoyably brief in contrast to its massive scope, and Notwo being quite long but consistently relaxing, while Outh9X actually does have quite a bit to say and is appropriately the longest song on the album.

But Quaristice is in no way an ambient album. Autechre probably do have it in them to make an ambient album, but Quaristice ends up being fun because of all of the bases it covers, ambient just happening to be the most interesting of them. It is a versatile electronic album, hitting genres as far away from one another as RDJ reminiscent acid house (chenc9), the aforementioned ambient tracks, glitch, and more. But this is Autechre, so a good deal of the tracks are less music than they are experimental organized sound.

It is likely that Quaristice will confuse listeners new to electronic music just as much as Autechre’s previous albums. However, it is still significantly more likely to draw new fans or change the minds of anyone who had their doubts about Autechre, due in part to the band’s new understanding of time management, which is a problem which they have always wrestled with. And because Autechre are still finding new and effective ways to express themselves through electronic music, and are still producing the occasional brilliant cornerstone song to the genre like Altibzz, it has become difficult to deny that they are the future of music, for better or worse.