On paper, 053 is the most unlikely of collaborations. A joint effort between Italian producer and DJ TSVI and London’s Loraine James? The former a student of precision, the latter a merchant of chaos. Or perhaps this partnership was inevitable. After all, both artists have been finding a space for
ambient / Bass / breaks / drill'n'bass / Drum'n'bass / Electronic / experimental / footwork
For the past 27 years, Dopplereffekt has existed as the intersection between Detroit and Germany, creating glacial and mechanical works of electro and body music under the guidance of the elusive Gerald Donald. Whereas peers like Mills, Hood, and the rest of the Underground Resistance embedded themselves and their music
For the past while, it seems like the phrase “house revival” has been on everyone’s lips at least once. And while there’s certainly evidence to suggest that the sound of 90’s Chicago is experiencing a resurgence (particularly in the mainstream), the truth is that it didn’t really go very far;
Bass / Deep House / House / piano house / UKG
For over a decade, James Vine has found himself at the fore of the bass music boom. Better known as ENiGMA Dubz, Vine has been pushing the boundaries of what bass could be since cutting his teeth on the dubstep scene. He’s the sort of artist who’s anything but an
Bass / Drum'n'bass / Future Bass / Garage / Jungle / Post-dubstep / UKG
Last year, electronic noise rock band HEALTH released their fifth album DISCO4: PART I, a magnum opus for the Los Angeles outfit that saw them collaborate with high profile acts across the electronic, industrial, and metal scenes, including 100 Gecs and Perturbator. The result was a reinvention of sorts, an
Darkwave / Electronic Rock / Goth / noise rock / nu-metal / post-punk
Austrian duo HVOB were discovered via SoundCloud. Part of a wave of early 2010’s producers whose break came inherently tied to burgeoning internet culture, what set them apart was not their presentation online, but rather as a live act. At the fore of the then emerging trend of combining live
The new generation of goth artists currently emerging are mostly millennial/Gen-Z cusps, raised on a diet of the noxious nu-metal of early 2000’s and My Chemical Romance, supplemented with the drama of Evanescence and HIM. But specific to this generation of alternative, children of the darkness is a sort of
New York producer Vitesse X used to make shoegaze. It makes sense that she was drawn to George Clanton’s 100% Electronica movement (née label), known for their futuristic chill and vaporwave and most recently, their cyber-rave VR events that streamed over the course of lockdown. It was here that Vitesse
Oh, electroclash. That glorious moment between the late 90’s and early 2000’s when the sound of the European underground was defined by a seedy sort of glamour, simultaneously grimey and glittery in the name of vanity, hedonism, and deliciously louche excess. Pulling both visual and sonic aesthetics from the New
Electroclash / French house / Italo / New Wave / retro / Synthpop / Synthwave / Techno
The dichotomy between PC Music and 100 Gecs’s respective styles of hyperpop is sort of bridged by umru. The Brooklyn based producer has always brought his American sensibilities to the otherwise UK informed PC Music collective; immediately bawdier, more in-your-face saturations of pop tropes than, say, A.G. Cook’s slightly more
