Lovely little roller by London’s Syz, part of a great set of tracks he put out in 2018. Grab it on bandcamp, vinyl still available.

Syz – “Myst” (bc)

I’ve written about Taut (real name Jacob Bergson) before. The song I wrote about last time, “Prime”, became a favorite of mine this past year. At the time Bergson initially sent it over, it was just a single with a B-side. But since then, it was included on a six-song EP, Polarity. Also on the record is this beautiful new song, “Eternity Behind the Veil”, which I suspect will get just as much airtime in my home as did that last one.

Bergson’s nom de plume is really appropriate — he has a knack for writing songs with tight and tense structures, and he shapes drums and synths that have the quality of an outstretched rubber band.

I’d be surprised if Kraftwerk didn’t play some formative role in Bergson’s musical upbringing. “Eternity Behind the Veil” is romantic and robotic simultaneously, a machine love song that I think the grandfather robots would approve of.

Grab Polarity now on bandcamp, or wade into the stream for it.

Taut – “Eternity Behind the Veil” (sc)

For months now, I’ve meant to post about Pittsburgh-based Davis Galvin. Their output over the past few years has been nearly faultless, and just as regular. They recently put out a new record, Meratana, a tight set of “(fun)ctional” tracks that are strange, but still well-woven for the floor. But while I really enjoyed that new one, I’m still playing catch up on Galvin’s bountiful discography. The release I’ve been stuck on lately is Otsinni, which came out in May ’21 (Galvin has no fewer than 8 releases since, if you’re in doubt about their prolificacy). It comprises a trio of skittering breakbeat moods that I can’t really choose between — they really work best in tandem. Galvin is an enormous talent, and with such a fast-growing collection, do yourself the favor and get started on absorbing their work.

Galvin seems to avoid streaming services, so go support them on bandcamp instead.

Davis Galvin – Otsinni (bc)

The dreamiest sky blue synth pop from LA-based Piper Durabo, aka Maraschino. I posted the video for her last single recently, but just the other day she followed it up with this gem. Extra-dimensional nostalgia for just about any generation.

Also, Durabo’s monthly show on NTS ‘Kiss Cafe’ is just fabulous and you should absolutely tune in.

Grab the single on bandcamp, or stream away anywhere you do that kinda thing.

Maraschino – “Hi Desire” (bc)

Not many words necessary for this one. I’ve been obsessed with this song since it came out in 2018. It’s perfectly balanced.

The 12″s of this are long gone, but for whatever reason, this is on a record that appears to only be available for streaming, not for download anywhere. But give Zodiac Childs a follow on soundcloud anyway, or grab something else from their bandcamp.

Zodiac Childs – “Diviner” (sc)

Old friend of the blog, Colin Bailey–most commonly known as Austin Ato, but previously best known to Palms Out partygoers as Drums of Death–recently did a great revamp of a seminal Latin broken beat tune by zero dB that came out on Ninjatune in 2006, arguably the tail end of that label’s golden era. Bailey keeps intact the spirit of the original, including the left-handed piano line that leads its rhythm, but he beefs up the bottom end and sharpens its edges, bringing the tune into more modern and accessible dancefloor territory.

Out now for streaming all over the place on Tru Thoughts — or grab it on bandcamp.

zero dB – “A Pompa Girou (Austin Ato Remix)” (bc)

Also, for good measure, here’s a phenomenal cut from Bailey’s Sensitive Techno for Today’s Shut-ins, a record that Colin put out about six months into lockdown that flew a bit under the radar–undeservedly–and I keep meaning to post about it. Check that one on bandcamp on LA-based label Fantastic Voyage.

Austin Ato – “Utal Viola” (bc)

More fwd-thinking jungle from Ottawa-based So Durand. “Lies II” is a reimagining of one of the tracks from his stellar This Unruly Kingdom release, which I covered earlier in the year. This new version takes what was previously a sludgy codeine trip of an instrumental hiphop track full of warm yellow bulbs, and keys it way way up, substituting all the dope with uppers and throwing it into a strobe filled warehouse night. Roughhouse yet refined jungle for peak time.

It’s out now on Irish label Choki Biki. Grab it on their bandcamp or stream it to your heart’s content.

So Durand – “Lies II” (bc)

Also, while I was on paternity leave, So Durand put out a maxi with a couple of hi-NRG jungle crossovers, and I’d be remiss not to share this one. Grab it on his bandcamp.

So Durand – “MISSME DUB” (ft. Sacha Foster) (bc)

A pair of beauties here from DC-born, London-based, Iraqi-Puerto Rican-originated Waleed. He’s only released these two tracks thus far, but they’ve received immense support from the likes of Four Tet, Dan Snaith, Floating Points, and Ben UFO, attention that ultimately also quickly secured him a deal with the venerable German label City Slang (European/sometimes home for the likes of Caribou, José Gonzalez, Yo La Tengo, Gold Panda, Calexico, etc).

Not much more information about Waleed has yet surfaced to provide much context for his music, but it shares plenty with the work of its high profile supporters, none of whom are slouches, to say the least. Both songs have a nice heft to their shuffle, and plenty of intricate detail. A comparison to Burial is unfortunately inescapable here given the post-garage swing in those drums, but where the godfather tends towards the icy, rainy, and cold, Waleed manages to imbue his music with a good deal more optimism, humidity, and sweat. Both of these songs still have enough emotional weight to tug the heartstrings, but Waleed does a great job of steering clear of the sap, which is hard to say for many others in the genre.

Despite the ever-crowded field, and the relative simplicity of these songs, it’s really no wonder he’s gotten a different level of attention compared to others exploring this sound. It’s natural, easygoing, and loose music that still sounds perfectly intentional and professional.

There are still copies of the 12″ available, and I can kind of imagine the first pressing might become a bit of a collectors item, so grab a copy on bandcamp. (Or stream away, as you do). And definitely check the video for the b-side, “Sueños”, animated by Matt Portner.

Waleed – “Se Rompen” (bc)

Waleed – “Sueños” (bc)

True to its title, this one’s all a flurry of hoovers, breaks, and rave pianos from London’s 4am Kru, who I’ve covered in the past. “Pianos Raining Down” is also designed as a useful tool, starting at a moderately fast 165bpm, but slowing down during the first breakdown to 134bpm while still keeping the NRG high. By the by, that stab melody is sampled from a track by Yorkshire duo McDonald & Janetta, who are credited as collaborators. All fun here.

4am Kru – “Pianos Raining Down” (sc)

No words necessary for these legends. Except to say Teklife deserves all the love.

Out now as part of Teklife’s On Life Vol. 3 compilation, out now on bandcamp and streaming everywhere else.

DJ Phil, DJ Spinn, DJ Manny – “No Love” (sc)

More blissed out breakbeat house from Monolithic and Queens-based label Mechanical, both of whom I covered a little while back. Monolithic describes the song as the sound of those times when you’re forced to act calm in the face of a situation that’s getting out of control. No doubt this is cool, calm, and collected stuff — just as fit for a late 90s roll as it would be for today at the beach.

The single is out now for streaming, or on bandcamp.

Monolithic – “Tailspin” (bc)

I rinsed Moderat‘s 2009 self titled album to death. I was traveling constantly at the time, and it just fit perfectly in my head and headphones. The songwriting on that record always felt a bit dominated by Modeselektor, but just with the sort of careful percussive refinement of an Apparat track. I wasn’t mad at that at the time, but it never felt quite like the act had it’s own distinct sound.

The trio’s recently released new record, MORE D4TA, on the other hand feels like something else entirely. It’s not a Modeselektor record, it’s not an Apparat record. Sure, plenty of of the typical technique of all three producers remain (thankfully), but the songwriting is a departure, and the influences feel broader. Case in point, the sound palette of the song I’ve included below seems less 2010s Berlin, and more 1980s Manchester.

Moderat – “DOOM HYPE” (sc)

MORE D4TA is out now for streaming or on bandcamp.

Two perfectly forward cuts of leftfield bass from Brooklyn-based Tano, from his recently released five tracker on his own In Armatura imprint.

Did you know that a clock works in much the same way that a synthesizer does? It depends on an energy source controlling an oscillator that marks intervals. In the case of a synth, those intervals become the relationship between notes on a scale; in a clock, the intervals are equal temporal units–seconds. I recently learned this, and it feels appropriate to share in the context of this record, since “Clockworx” is my pick of the bunch. Pure and distinct grime references in that lead line, carefully refined breakbeats, it feels like a timeless and timely record (I’m full of bad puns, get at me). Also check “Step Into Vesuvio” — a tight bit of percussive broken beat techno. But really, the whole EP is extremely strong, and should not be slept on.

In Armatura 003 is out now for streaming or on bandcamp.

Tano – “Clockworx” (sc)

Tano – “Step Into Vesuvio” (sc)

It was then, floating in the passivity of induced consumption, in which it became clear that this functional mechanism of time was but a codified drift. With our particular indifference to an imposed rationality, all semblance of alterity had been lost

Music–especially electronic music–is usually a feeling exercise. It’s for dancing, for crying, for running.

Most artists just want their art to make you feel something. I’ve always subscribed to the idea that the worst reaction art can evoke is indifference. As much as I hope my own music gives people good feelings, I’d ultimately much rather a song I write elicit a strong negative reaction like disgust rather than boredom or indifference. But some of my favorite music is also thinking music. Music can have tremendous activating effect on the occipital lobe and frontal cortex — it can conjure not just emotion, but also give us visions, trigger complex thought and academic inspiration.

Thodén (real name Kris Rehfeld) is a Danish artist whose music has that desired substantial emotional effect, but is also full of visual stimulus. This may be by design– Rehfeld’s debut album, This Codified Drift was written during the first lockdown, at at time when we all had more time for thinking, and maybe a little less room or willingness to feel.

The album doesn’t hit you over the head with meaning. It’s bursting with imagery, but it’s all cloaked — it’s left to the listener to decide what this music means. Listening to a song like “Hyperreal”, I find myself fantasizing about the patterns of wasps nests and the organization of anthills. “Gush” feels like the frustration of new lust; when you’re feeling intense magnetism, but trying to play it cool. “Signal on Baikal” is a swamp boat right after you turn off the airdrive fan and let it coast towards the mouth of a cave. All eight songs on the album are full of these kinds of feelings and imagery. But they all mean what you make of them, so go make them mean something.

This Codified Drift is out now for streaming or on bandcamp, via French label Electroménager.

Thodén – “Hyperreal” (sc)

Thodén – “Gush” (sc)

Thodén – “Signal On Baikal” (sc)