There is a bit of “Chinese Burn” in the new Gone Future release. Featuring fellow Swede, ShitKid, “PIG!!” sounds like a mutant version of the Curve classic – which is no bad thing. Played loud in the car, it’s the riotgrrrl response to the insanity of modern city life.
Track of the Day
Martyn Ware, in full BEF garb, is back in disco mode with Leee John on vocals. The track is from the forthcoming fourth installment of the Music of Quality and Distinction Series, Electric Soul Manifesto. Currently only available on Souncloud.
“What are we here for? We are here to go!”
Brion Gysin
Cabaret Voltaire always had an interest in the work of William S. Burroughs and Brion Gysin. In 1987, they turned that into a dance track in designer clothing with Bill Nelson on guitar and Adrian Sherwood at the controls.
Mute are reissuing the Code album as a deluxe offering, which means the alternative dancefloor can again shake to Stephen Mallinder instructing you to “Get serious!”
Dave “The Keys” Baker returns with another track from his lonelyklown project. “It’s just another love song,” intones the vocodered voice, but when Baker creates one it doesn’t just end up on the pile. Classic electronic sounds layer with intent, while the minor key lines stroke your nerves like melodic AMSR.
The Swedish songstress releases a remix from Agent Side Grinder to trail the forthcoming album, ICONMIXED. EMMON and ASG have some history together, including a vocal appearance on “Relics” by lead singer, Emanuel Åström.
This version moves the faders and dials up the resonance. It’s a bedazzled remix with acid bites for emphasis.
“Too Much” opens on a tight, mechanical bassline that immediately sets a brisk tempo. Crisp drum sequencing drives the rhythm forward, framed by cold synth textures and sharp electronic accents. Pavar delivers a composed vocal character, gliding over shimmering waveforms while maintaining a subtle dark edge beneath the polished surface.
The arrangement stays strictly pared down to maintain momentum from start to finish. Every synth lead and rhythmic layer serves the melodic contour without unnecessary ornamentation. It is direct, self-contained electro-pop that delivers solid entertainment with a disciplined pulse.
Some songs pick a side and stay there. “Bats in Paris” sides with the darkness and never blinks.
Opening with Dina Summer’s spoken verses laid flat over a drum machine that doesn’t so much build as insist, the track channels the electroclash of The Hacker with hints of Italo and EBM. Local Suicide and Kalipo have spent a few years refining this particular contradiction, and here it locks into place with unusual precision.
The first track to get an outing from Waterflower’s forthcoming album, Digiplantcore, “Honesty” comes with a smashing video.
Aaron Funk made a name for himself with glitches and dreads. Sabine Moore has outdone him with thunderous crashes and mushrooms. Sometimes, what the dancefloor needs is a reason to fuse with phyto-rhythms and dabble in chlorophyll.
Sweden’s Ankomst return with a statement about AI-generated music. “AI Disillusion” leaves no doubt about their position on the subject, but there is some room for discussion about whether “art” is art when made with machines.
We don’t have all the answers, but there is clearly something wrong about people using these tools to harvest the cultural heritage of humanity to create new products without crediting or rewarding the original artists
Join the debate.
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