IDM and ambient. A journey: looking at the star-studded night sky in a wide valley, then taking a trip inside a factory colony on a distant planet, and later back into the open space and nature again.
Throwing Snow – Loma
First got hooked on this one when I was looking for something with broken beats and jungle rhythms, and I was happy to find this record. But then there are quite some flavors of electronics piled up here, all pretty much good flavors.
Maceo Plex, Swayzak – The Tesseract EP
The fourth quarter of last year was massively dominated by techno for me. Going to a good techno party resurfaced in my life as a force that I am drawn to, and I got to listening to a big chunk of good, dance-oriented techno and house.
This record was one of the highlights of the year’s end. It encompasses pretty much everything that I always loved about good techno music: dark atmosphere, industrial sound (that’s mostly the A side here), and a rolling uptempo beat that drags you along and moves your body even at 5am on the dance floor (which is coming along on the flip side).
Laksa – The Amala Trick
All output in 2018 by Laksa is well worth the visit. Mid tempo electronic music, which not special because it’s outstanding, it’s just nice to listen to.
Deena Abdelwahed – Khonnar
Experimenting electronics, exciting, new.
Public Memory – Demolition
A surprisingly triphop album in 2018 with an equal balance of rock and electronics. Reminds me of Archive most.
Lorn – Remnant
I don’t really know how to label these albums anymore. When Loren appeared on Brainfeeder it was easy and obvious to call it dubstep not just because of the music but because it was those times. Then in the Ninja Tune years it was still related to that scene. But then the dubstep bunch dissolved and some started creating techno, others house, and then some continued this sort of evolution of dubstep into something like bass-dominated darkish ambient, which I wouldn’t call ambient per se, but I just don’t know what to call it.
Discogs labels this latest Lorn album simply as experimental, but I don’t think it’s experimental at all in a sense how I see a Pansonic record or something by Sakamoto being experimental electronics. Remnant has a lot of melodies, easy-to-listen textures, some beatless pieces but many with mid-tempo rhythm. This is not experimental at all, this is completely approachable and easy to digest even if it is for a specific taste – but that’s true for all sorts of music.
Nowadays I tend to consider these simply electronic music. Maybe add “atmospheric” as most of them could fit as a soundtrack for any movie, game or live performance. Bit dark but then not, bit ambient but then not, bit experimenting but then not, bit triphopish but then not. I am thinking of labelling these as IDM again, which feels weird because I have very specific moods attached to that genre because of Planet Mu, Plaid and such from the late ’90s and early ’00s, but the philosophy of that music and those releases are closest to what I feel now. So, all that said, we could call Lorn’s Remnant a modern, bass-oriented, moody IDM record.
Or this is dubstep still. It’s just that this is what dubstep sounds like 10-15 years in. (And probably I had come to this realization a few times in the past decade.)
Ital Tek – Bodied
Chilling, beautiful, intimate. Like Apparat with more Planet Mu in it.
Chris Liebing – Burn Slow
It is like techno with a triphop sound: not so dark as rather introvert, slow to mid tempo, bass-dominated, some vocals but often just words.
Bicep – Bicep
Electronic dance music from the UK on Ninja Tunes.