Debut LP from producer Vektroid (formerly known as Vektordrum). “An experimental response to artists like Com Truise and Ford & Lopatin and the late 80s new age/soundscape movements," it brings memories of early arcade game soundtracks, all slightly dark, with some splendid hip hop beat patterns to keep the whole thing tight and nicely fraying towards the end after the princess has been rescued. His previous EP, TELNET EROTIKA, is freely available here.
Two tracks from the album have been leaked so far, with the album slated for release on May 13, via Bandcamp. Much more info on the album is available at his Tumblr, linked below.
Luke Vibert here serves up a selection of laid-back instrumental funk, woozy abstract hip hop, skewed house rhythms and plenty of vocal samples, often funny or just plain bizarre. Fans of contemporaries Aphex Twin or Squarepusher will appreciate the range of musical experimentation and humor across the record. Highlight "Oh, I’m Tired" starts with bass guitar funk and develops a more maudlin feel via a dreamy harmonica turn and sparkling orchestral accompaniment. Overall Toomorrow demonstrates Vibert’s continued relevance in today’s dance music, and is only slightly tinged at times by some extended jazzy twiddling.
The artist formerly known as Vektordrum has recently released his Telnet Erotika EP for free download under the new moniker VEKTROID. With new writing processes, ideas, and projects comes new names and we shall see if this one sticks. Regardless, Telnet Erotika shows Vektroid toying with the “chillwave” movement, reforming it into a throwback to classic computer culture in an immense lo-fi trip. The genre? MS-DOS WAVE. "Motions Feel" just may be the sexiest track of 2011, keeping a hot buttered groove for over 8 minutes. With other psychedelic bangers such as "Nobody Here" and an absolutely insane Toro y Moi remix (check his Tumblr for the cut), 2011 seems poised to give him the praise that is long overdue.
Some of the best instrumental beats I've heard in quite some time. A change of pace for the followers/readers of this blog, but you won't be disappointed, I promise you. Neck-cracking rhythms and samples that go all over the place, dabbling in warbly synths, brass instruments, breakbeats, slow grooves, and more. Any fan of early Brainfeeder and instrumental hip-hop in general will have a fun time with this.
"This is a year's worth of work. Random instrumental and sampled tracks that have each been breastfed and housebroken accordingly. Do not expect a cohesive album. They had no home and my music has moved in a different direction. Please give them a home in your head." - Luns
A classic of epic proportions. This LP was way, way ahead of its time. Considering that a lot of these tracks were on previous EPs and predating the LP by a couple of years even, you can't help but be astounded. "Papua New Guinea". It is the full version too. That track alone never fails to send a shiver down the spine and set off feelings of all encapsulating joy. Show me one LP of electronic music from the same year that comes anywhere even slightly near to sniffing around its heels and I'll eat my hat. A piece of electronica history that without any doubt paved the way for many followers. Warp Records in 1991 didn't even get near this! An absolute giant killer.
A great record whose entertainment is beyond the wit and self-assurance of the average snobby late-teens "IDM" enthusiast who is afraid to admit he plays Pokemon to his friends. This record is not to be taken too seriously, not much KLF stuff outside of the early singles, 'Chill Out' and 'Its Grim Up North' is. It is however good music, with catchy loops, sterling production and even some hints of Acid buried under all that poppy varnish.
Lasers features twenty tracks of raw acid, a daunting task on paper, but it’s to Louise Wood’s credit as an artist (and sequencer) that I never once felt compelled to skip ahead. In addition to her acid chops, Wood’s an adept selector of panting disco vocals. Dig those vocalized cuts on Mimtro, sexy but odd enough to suggest Wood’s intentions lie to the left of pure dance floor fodder. Xwc, meanwhile, features a deep male voice breathing out what sounds like ‘push it’ on repeat, letting off steam over a sweaty electro workout. Wood is also prone to scale things back from the 4/4 kick pound at points, such as on the mysterious minor chords of "144a Acacia Overdrive" or "FabaceaeCPea"’s detuned analog screech and sequenced cymbal and snare rushes (with a vocal sample that, unbelievably, sounds like its gibberish title). Great release, grab it!
Really enjoyed this release, it's a collection of their works from 96-99 and still stands up well in today's market of hyper glitched electronic; the opener is a sweeping slice of 808-induced techno before blasting off into full on broken beats and catchy hooks. Recommended!
Hello and welcome to the one blog dedicated to true electronic music (I never did like the term IDM -_-) If you see anything you like, have at it. If any artist wants his/her music taken down, contact me and I will comply.