Part 1 of 3.
In the Flashback! post, we walked through a little bit of the electronic music explosion of the 90’s.
That post stopped at the decade’s end, but the music didn’t stop; though for a few years, when my favorite local record shop’s “Electronica” section kept getting smaller and sparser (eventually vanishing altogether, with a few hardy critical-consensus survivors migrating back into the general rock/pop population – a taxonomic egalitarianism I approve of in theory, but do not prefer in practice nor personally observe) it sure seemed like an extinction event.
Of course, the shop itself only lasted a few more years; times were changing for them too.
Here’s some post-Y2K electronic tracks, divided into whatever-the-heck random categories I felt like dividing them into.
I tried to avoid repeating material from previous posts, which explains the absence of the artistic constellations orbiting around DFA, Italians Do It Better, and Morr Music, three labels which made big waves in the new millennium.
Ready then? Off we go!
***Space is the Place for Bass***
If Burial takes the listener underground, Scuba’s nom de tune hints at the deeply aquatic nature of the sounds on Triangulation, which can suggest steely low thrum, unfathomable pressures and pinging sonar (and occasionally, the fleeting glow of strange, beautiful lights in the cold darkness outside the portholes):
Scuba – Before
Shackleton’s Three EP’s brings some world music and acoustic-sounding instrumentation along on the expedition:
Shackleton – Mountains Of Ashes (Mary Anne Hobbs Mix)
So does Oneiric, by Scotland’s Boxcutter, though it also draws on drum and bass and other twisty 90’s roots:
Boxcutter – Skuff’d
And Martyn’s Ghost People sometimes crosses over into straight-up old-school techno:
Martyn – We Are You in the Future
***Glyph Reaches Detente With House***
Of the various electronic music dance forms out there, House was for many years one of my least preferred. Utilitarian in function and accordingly uniform to a fault sometimes, there have nonetheless been a few artists in more recent years to break through that wall with me.
Luomo’s Vocalcity did it simply by stellar sound design, with lots of deep dub-like seductive space:
Luomo – Synkro
Blondes make a cerebral variant aimed at the head as well as the hips:
Blondes – Elise
***Germans Do It Better***
The robots in Kraftwerk somehow achieved “funky” via inhumanly rigid machine precision; but their more modern countrymen are not averse to engineering in just a little bit of rubbery bounce, or adding some texture via guitars or a human voice.
Ellen Allien & Apparat – Way Out
Moderat – Rusty Nails
It was a toss-up whether to include the original here, or the actually-awesome Tom Petty “cover”:
Booka Shade – Night Falls
Though, you can’t totally take the traditionally Teutonic tick-tock out of their techno, and thank Tod for that:
Closer Musik – Departures
Part 2 next week.