Welcome to my blog, I write about the music I like.
An autobiographical record, marking 10 years since Octo Octa publicly came out as trans, Sigils for Survival is also a defiant celebration of the healing and unifying power of dance music. Recorded on old school hardware, it embodies the physicality and energy of the rave.
One of electronic music's most unlikely figures and dogged survivors, Moby has once again found a new audience, when his 1995 track, When it's Cold I'd Like to Die was featured on Stranger Things. Future Quiet also features reworks from his previous album, stripped down to sparse piano and strings, in an attempt to create a space of peace and refuge.
Under Tangled Silence is an intentional and self-aware record, almost wilfully slipping between categories and resisting definition. But for all that artful poise, it’s also a record with a soul, and particularly in the unadorned piano, the sound of an artist daring to show something of themselves in their music
SickElixir is a dank, dark, claustrophobic and at times downright unsettling listening experience. But for all that, it’s also a startling bold and original piece of work. One that sees Blawan evolve and elevate his sound to a place where he’s pretty much alone, influence-wise.
20 years after he was first labelled as folktronica, Four Tet's collaboration with folk guitarist, William Tyler, could ironically match that description. With expansive and gentle soundscapes populated by acoustic guitar and Kieran Hebden's electronic sculptures.
On Tall Tales, Thom Yorke and Mark Pritchard paint nightmarish and hallucinatory landscapes populated by monstrous entities, which are brought to eye-popping life by visual artist Jonathan Zawada.
Hard Normal Daddy was Squarepusher's first album to come out on Warp Records, the label that would remain his home until the present day. Released in 1997, it’s a far more consistent and comprehensive artistic statement than his debut. Check out my video review
Unusually for Aphex Twin remixes, these bear some resemblance to the originals, albeit taking them in unexpected directions. Both cuts are peak Aphex for me, demanding your full attention with their insatiable energy as soon as they come on.
The Windowlicker track and video are so entwined it's difficult to separate the two. Landing in that confluence between analogue warmth and rubberised digital weirdness; the r'n'b cadences and human moans and groans always at the mercy of being overpowered by atonal walls of static and undanceable programmed rhythms.
The Come to Daddy mini album unites the disparate strands running through James' music as the time, with a deeply odd sense of urban decay.
George's Music Blog 