Aw yeah, here we are at last. Ever since starting this site two years ago, I’ve deeply enjoyed the excuse it’s provided me to go absolutely HAM on compiling my favorite records of the year and for my third edition, I continue my own tradition of an ever-ballooning listicle charting the tracks, twelves, EPs, albums, and reissues that never seemed to leave my tables or my Bluetooth speakers (man, I hate Bluetooth so goddamn much…Bring The Cords Back!) It would appear that my lists are also growing at an exponential rate as I will be doubling my round-up once again this year, with four different listicles planned. Now, whether I complete those before I burn out is anyone’s guess. With so many notable releases out there, I’ve found myself grouping many of them around labels, genres, and other themes that make too much sense to me but might not scan as “obvious” to everyone. Oh well. Onward!Read More
The term “tau” is derived from the “tau effect”: It describes the influence of the duration of temporal intervals on the perceived length of spatial distances. But tau can be more than that. Constructions, abstractions and rearrangements of space, time and their relations are to be imagined. Space and time are the instruments of mind. Temporarily available utopias are real imaginations in an imagined reality.
As this site endlessly pivots between the past and present, feels like it’s high time to swivel back to highlighting some recent releases I’ve been feeling. In case you missed it, I can’t recommend enough the homie Pipecock’s piece connecting the dots between a large number of oft-overlooked American dance operators, including Kai Alcé’s NDATL imprint. The label recently released a ten-year anniversary comp with a tracklist that would put most other labels to shame. For me, the absolute highlight comes in the form of a pairing between Alcé and Kyle Hall that features some dazzling rhythmic-melodic titration. It’s the kind of track that can send my anxiety levels through the roof in the most deliciously agonizing of ways.
I have so much admiration for the Tresor label’s commitment to underground sounds and their more mainstream-inclined ripples. Following that scorcher from Second Woman released back in March, Tresor has repressed this blazing Shao EP from January that marries cinematic ambient with crystalline floor flexes like the po-faced “Reflection Pt. 1” below. As one friend quipped, “It’s very John Carpenter at Berghain, into it.” As am I<3
Moscow’s INFX is the latest Russian electronic artist to release via Gost Zvuk, which has been a home to recent favorites from the likes of Nocow, Buttechno, and Flaty (who has a track on the upcoming Cong Burn comp). Maintaining its pretty damn flawless track record, Fences of Metal is six tracks of stellar IDM-informed excursions into electronic extremities and rhythmic rotundas.
Lastly, I’m always a soft touch for damaged, demented dub and Bristol’s Sunun drops four steaming platters of humanized, ritualistic incantations backed with a probing Kinlaw remix. She has a monthly show on the excellent Noods Radio as well, so get to it! And speaking of Noods, I really enjoyed the dude Ossia’s first show on the station, a solid two-hour journey through dub specials, industrial-tinged techno, and 140bpm halfstompers. Check it.