I hate having to give things star ratings, or #/10 or any definitive stuff like that so I've decided to use a blog to just dump my thoughts on all kinds of releases.
I will be using hashtags to refer to the RYM shortcut code of the relevant release(s) in a post, so anyone can easily scrub through and find what they're looking for.
Dunno how often I'll be updating this, or even using it in the first place, but I hope I will find some motivation to say some things about what I'm listening to.
Probably one of popular culture's closest brushes with house music and its impact has been so important to contemporary EDM.
Well into the era of digital production, Discovery sees the duo largely departing from their earlier French electro-techno sound from 1997's Homework in favor of what would become the signature sound of French House. Harkening back to aesthetics of early garage and DJing, 70's disco sampling intermixed with that now ubiquitous phase-y production and bouncy sidechain filtering, Discovery was and still is so distinctive.
From a production perspective, this LP generally doesn't depart far beyond the very basics, and yet somehow, very few have replicated its sound (the closest maybe being the more contemporary "future funk" sound led by artists like LemKuuja, pandering closer to city pop/funk aesthetics of 70's-80's Japan). That irresistibility born from such simplicity I feel is what makes Discovery so universally approachable. The popular familiarity of Electric Light Orchestra, the Bee Gees, and Earth, Wind and Fire permitted Daft Punk to operate accessibly while simultaneously developing time-tested philosophies in DJing among the more alternative space; this record truly has something for everyone.
I'd argue the record's global phenomenology enabled the later Bloghouse movement to thrive and become what it is today. The obvious connection to Justice and Digitalism is apparent for example, but I would even venture say the wider mainstream acceptance of acts like Soulwax and even the more bitpop-y Crystal Castles can be in some ways thanks to Discovery.
And of course, I'd be remiss to mention Discovery in the context of Daft Punk's later discography, namely 2013's Random Access Memories whose space in popular culture was unquestionably prepared and carved out by Discovery and its success.
Such a simple but uniquely intoxicating LP, Discovery introduced so many to the joys of dance-house and arguably prepared the popular ear for so much EDM yet to come.
After the short-lived Legs on Earth, a new brutal math-prog project is on the horizon. What do guitarist Spencer Seim and drummer Zach Hill present on their debut as Hella?
Both incredibly talented musicians in their respective crafts, Hold Your Horse Is quite an intense record, not like that is a difficult observation to make, even if you haven't heard it (given Zach Hill is involved). Batshit insane blast-beats, haywire Midwest emo-esque tappy progressive solos, you name it, this record has it for the brutalist prog fan. Seim and Hill enter each track with what feels like a vague idea of what's to come; and yet each song is executed so precisely, that by the end you're somehow wondering if each note was planned from the start.
The consistency of this record and its feel is unrelenting. Each track is immediately identifiably "Hella". But in some ways that leads to its downfall. Unlike some later Zach Hill projects- Face Tat (2010) especially comes to mind -Hold Your Horse Is is a bit less varied. While there are absolutely timbral standouts like "Biblical Violence" and "City Folk Sitting, Sitting", the record's cohesivity sometimes drifts into repetitivity. While Hold Your Horse Is is a gold-standard in simple production choices, I feel records like Face Tat and Masculine Drugs (2004) showcase a wider variety of sounds.
Saying all this, I will immediately undercut my point: if you really like Hella's sound here, there is plenty to go around. While simplistic in some respects, and bafflingly complex in others, Hella is an island; you won't find much like it with its particular quirks. The frantic explosivity of Hold Your Horse Is is unmatched, up there with the most ballistic of performances by Black Midi's Morgan Simpson or Billy Cobham. A paradise for the most hardcore of prog rock fans.
I've reformatted a bunch of my reviews more properly with links to artists, albums, and genres/scenes on RateYourMusic, so you can find those there (theres a link to my RYM page in my bio, but I'll just put one here too: RYM Page Link🔗)
Camera Obscura | Let's Get Out of This Country (2006)
A band with firm ties in the history of twee pop, does Camera Obscura's 3rd LP hold up today?
In a similar fashion to twee staple Belle and Sebastian (of course I'm mentioning them, it's a twee-pop review) Camera Obscura leaves behind their more delicate folky sound in favor of a wider indie rock-like composition, one later expanded upon by acts like She & Him and even more recently, Alvvays. Beyond the obligatory "woah this sounds like Molly Rankin!" comparisons, their change in sound on the LP is truly indicative of the band's confidence compared to their previous records, and is what keeps me coming back to the band even now.
Given it is twee album, we are of course treated to constant heart wrenching narrative atmospheres, especially through Tracyanne Campbell's vocals. The album is a push and pull of cynicality and vulnerability, and intensely so. The transition from "Country Mile" to the following "If Looks Could Kill" is especially evocative in this way, both lyrically and sonically; not to mention the sheer range the tracks present for the band's sound! That juxtaposition between the sullen and the totally unfettered is what makes this record so emotionally complex, and in such a unique way (a feel Alvvays would later iterate on and perfect).
A verily underappreciated gem in the establishment of the modern dreamy twee/jangle sound, Let's Get Out of This Country easily holds its own among today's greats. Absolutely worth a listen whether you're coming from the folkier or noisier end of the space.
Jenkinson comes straight out of left field with a completely new and surprising sound. Invoking some nu-jazz/drill fusion sounds we haven't really heard since 2004's Ultravisitor, but also opening a totally new prospect with its third-stream-esque arrangement.
Curiously reminiscent of production quirks present in VGM cinematic classical- totally unconstrained chamber arrangements via MIDI -but with such atypical tonal and rhythmic stylization for the domain. Jenkinson's background as a jazz bassist is evident, way beyond his illustrious solos and lines on his 6-string electric bass throughout. Constant modal changes and Pastorius-esque melodic runs fill each track, effervescent and unwaveringly confident in execution.
I can absolutely see the Squarepusher fan who was wishing for another acidic break-driven record like Dostrotime (2024) or Be Up a Hello (2020) leaving disappointed by this record. And if that is what you're looking for in a Squarepusher record, Kammerkonzert is not going to be for you. But seeing more experimentation in a sound space really seldom trodden, aside from maybe Venetian Snares' Rossz csillag alatt született (2005), is so exciting; especially with a non-sample-driven approach.
There are moments in the arrangements where the synthesizers become almost indiscernibly blended within the string alchemy, and I think this is a wonderful picture of Jenkinson's conceptual vision for the record's sound. He does not spectacularize Kammerkonzert's stylistic blending as an explicit "gimmick" or "feature" (something which I feel hinders the aforementioned Rossz csillag alatt született), instead presenting its sound as a fully contiguous and forward decision. This is not a drill n bass record with a disjointed third-stream classical accompaniment; it is something entirely new:
Kammerkonzert is an exciting exploration of something new, and I highly recommend any curious listeners to give it a go!
April remembers she has the ability and free will to produce EDM, and flexes her production muscles on an Underscores record in a way we haven't heard in a while.
While maybe a little less approachable than her last record Wallsocket (2023), I see U as a returning stylistic pendulum swing. April began Underscores with Fishmonger (2021), which to me was a bit too harshly set on hyperpop-y/plugg-y aesthetics. But, on her next studio LP Wallsocket, we see a swing towards a more noisy/grungy indie rock sound, intertwined with April's persistently fun electropop genre blending. Although, after Wallsocket, while not necessarily for me, many fans were left craving for the more hyperpop-y sounds of Fishmonger- luckily, April was ready to answer.
U is that proverbial swing back. Punchy synthy pop bangers, full of that irresistible hyper-punky charm from Fishmonger in a much fuller fledged and refined package.
It fills that gap between the simpler sounds of records like Charli XCX's Brat (2024), and the unabashedly intense and comical WFLYTD (2020) from Six Impala; we've settled in something more zestful than a typical dance-pop LP, but still earnest in its intention. The lively "Tell Me (You Want It)" and "Music", versus the more relaxed "Lovefield" provide contrast and variety, keeping the record's intensity fresh when it finally strikes; avoiding a trap I find many electropop records fall into, where that potency is lost.
My expectations for this LP were high given April's previous work- not only as Underscores but also as a DJ and producer -and happily, I was blown away nonetheless.
A legendary drill 'n' bass record, Go Plastic iterates on Squarepusher's earlier, more jazz fusion forward works, for a funky, intense, and at times delicate dance record.
After the release of the Red Hot Car single a few months earlier- almost functioning as a demo for Go Plastic -the difference between the single and album versions of the titular track "Red Hot Car" are a perfect capture of Squarepusher's unique production choices on the record, notably resampling, a technique utilized across the record.
Tracks figuratively and literally iterate upon themselves, a section is introduced, replayed, then chopped and restitched among new elements over and over, producing a sound now definitive of outsider drill 'n' bass. That self-iteration is in large part what is so interesting to me from a production standpoint.
This is all not even mentioning the always charming synthesizer arrangements which accompany and interlace the production. Ranging from the entrancing chords on "I Wish You Could Talk", to the funky and strange wubs of "Boneville Occident", "Greenways Trajectory", and "The Exploding Psychology", and of course the tranquil "Tommib".
As a historic piece of electronic music, and especially the IDM-y DnB/Drill scene, Go Plastic harnesses the advent of digital production in such a fun and engaging way. While less focused on spectral production experiments, Go Plastic, like Aphex Twin's Windowlicker (1999), explores options and sonic techniques made possible by digital production with its resampling and complex iterative approach, and I find it to be an incredible execution of a sound seldom reached prior.
I cannot explain how much of a surprise this record was. On first listen, a quaint ambient-y lo-fi indietronica exercise. But for some reason, I kept coming back for more. Something more emerged and my appreciation for this record has grown so much.
For Raczynski, myloveilove is a surprisingly, but refreshingly earnest release. After the enigmatic Boku mo wakaran (1999) and Samurai Math Beats (1999) which thrived on clanky rambunctious tracker beats and distorted synthesizer design, making for playful drill 'n' bass records, myloveilove is a serious tonal shift. His croaking vocals over mellow digi-acoustic production- often reminiscent of Aphex Twin's Drukqs (2001) from the same year, or a playful Tim Hecker -Raczynski festers a romantic longing across the LP. Fervid emotion is presented viciously through the acoustic, and an anxious yearning through the electronic. That marriage of that shoddy early tracker sound with such solemn intimacy sets myloveilove in a league of its own.
Recorded on a shotty tape deck in Gerald Simpson's attic from 1987-1988, you can certainly feel its age. Does it hold up? Yes, and no.
Absolutely an immersive experience as is the case with most of 808 State, but it is evident that Prebuild is in fact a mishmash of offcuts and demos. Strange vocal samples, noisy mixes, and meandering progression, this record is not something to pop on in the background.
Is it fun? Yes, Prebuild holds its "old man card" proudly, laying the foundation for acid techno and house in England. Would I recommend it for casual listening? I would not say so, but as a time capsule of 808 State and Bleep's origins it is a whole lot of fun.
There are gonna be 2 main sections to this post, one for records that I was excited about or haven't seen in person, and the other for my actual haul (what I ended up buying).
Here's a lot of the stuff I saw, there was so much and it was amazing to actually be in a store which SPECIALIZES in weird ass techno and house music (shoutout Gramaphone Records on Clark St.), as well as seeing some Chicago bands representation among a robust mix of popular music of course. God do I wish I could've spent more time at some of these (especially Signal Records in Wicker Park), but the time I had was amazing.
Gramaphone Records' Discogs
Reckless Records' Website
Signal Records' Discogs
-----
Here's the stuff I actually ended up buying. Been looking for those vinyl LP's for years now and I FINALLY found a copy for a regular ass price. Also, all of those CDs are all such hidden gems, please give them a listen if you're into industrial (obviously not the Steve Riech, that's contemporary classical).
Yeah a lot of these pictures were taken in a rush, sorry for the blurry mess.
I can't sleep so it's time for another post no one asked for:
5 House Tracks which have legitimately brought me to tears.
First, I gotta start with something which will be a surprise to absolutely no one if you know me at all:
Against All Logic - Cityfade
Track 7 of 2012-2017 (2018), the first studio album from Nicolás Jaar's deep house project "Against All Logic", kicking off the list with a lingually transcendent and always heart-wrenching banger. The track quotes Rainer Maria Rilke's 1907 poem Quai du Rosaire, a reflection on the abandonment of Bruges, Belgium, with Jaar reframing it for a more contemporary audience.
Emboldened by the record's use of outsider-house sampling styles- especially noticeable in Cityfade's main loop, a room reverb-damp piano -there is a sobering realness to the track. In a record full of huge spatially surreal mixes, it is definitely jarring, suddenly you are somewhere identifiable. The track continues to hammer on this loop, slowly layering synth-string chords, arpeggiators, lifting the listener away from the track's initial presentation. We are provided with an overhead point of view; one bleakly confronting the damaged and abandoned- a bird's eye on humanity's carelessness. The driving 2 & 4 snare beat persists throughout the whole track, initially with a sense of emptiness, slowly filled by swells. The vocals build to a nearly theatrical pleading, palpable even beyond language barriers, ending with an uneasy but satisfying release.
Cityfade's jarring production and bittersweet burn never fail to jerk some tears from me, and I'd highly recommend a listen the track in context with the rest of the LP.
Kero Kero Bonito - Well Rested
Another entry into my personal deep house hall-of-fame, Well Rested from the trio's 2021 EP Civilization II following up 2019's Civilization I, destroys me.
A height of KKB's digifusion vernacular, toe-to-toe with tracks like Trampoline from Bonito Generation (2016), Well Rested is a shot trained on the skull of nihilistic thinking, and good lord it connects. "False prophets proclaim that the end is nigh, and that humanity is not worth existence. This is a trap laid to ensnare the living, a lie of the weak-willed, the inhuman." For someone so often preoccupied with the veritable hellscape that is "contemporary geopolitics", Well Rested is an important reminder of hope: change will come, and there are people who care. "Instead, we will be Well Rested", after an octave driven acid melody line over KKB's always delightful J-VGM inspired fusion production, the track opens up for a triumphantly delivered chorus from singer Sarah Midori Perry.
Closing out with a synthesizer runaround from producers Gus Lobban and Jamie Bulled, notably shake-y but determined, we end on a marriage of humanity and nature; one and the same. The distinct "kero-kero" melodic quote from their debut mixtape over a babbling river, Well Rested reminds us that it's okay to be scared, but we can't, and we won't lose sight of the light.
The Field - A Paw In My Face
From Axel Willner's debut LP as The Field From Here We Go Sublime (2007), an essential record in minimal techno, A Paw In My Face with its quaint looping guitar sample reminiscent of a skipping CD is easy to lose yourself in.
Without a doubt pulling from the repetitive yet nuanced stylings of post-minimalist contemporary classical composers like Steve Reich and Philip Glass, the term trance gains a whole new level of meaning on this record, and especially on this track. I encourage anyone interested to set aside some time to give From Here We Go Sublime a front-to-back deep listen and meditation. By even the second track I find myself digging into parts of myself I struggle to reach otherwise. As a both a recording and performing act, The Field is a perfect demonstration of how something seemingly so simple can reach you at your core.
Daft Punk - Revolution 909
Track 3 on their debut LP Homework (1997), Revolution 909 is a distillation of all feelings from your first rave into a 5:26 studio track.
That submersion into another space when entering a venue; freeing yourself and letting go. The side-chain pumping and low-pass sweeps open a window to peer back in on those feelings. Dead simple in its arrangement, but captivating nonetheless, Revolution 909 is liberating in a way not many other songs can claim.
"Lose yourself to dance", so to speak *wink-wink*.
Aphex Twin - Tha
And to no one's surprise, Richard D. James makes an appearance on a house music list. Now of course every aspect of Selected Ambient Works 85-92 (1992) has been talked to death, so I'll keep this brief for everyone's sake. Tha's central production feature is the percussive breathy loop which continues throughout the entire track. That, and beating of an analog kick drum point's the listener's attention to not only the progression of the track's droning arpeggiators and synth swells, but also to themselves. The cadence of their own breath, the thumping of their own heartbeat. Like many tracks on this list while so disparate in composition, Tha asks the listener to confront themselves: what are you feeling?
In light of a long winded conversation in a chat I'm in, I just want to put out some recommendations for anyone who INSISTS on that ambient dnb sound. Please, anyone but them.
-----
Christoph De Babalon | If You're Into It, I'm Out of It
Solid ambient dnb project by headliner of the now (in)famous Digital Hardcore Recordings label. Great as an intro to the older sounds of the genre.
-----
I Broke My Robot | Tomorrow Does Not Exist
Absolutely a heavier release than others on this list. Approach with caution if you're looking for something to have on in the background, this record is loud and in your face. Probably the closest thing to straight-up gabber on this list, although if we wanna be needlessly technical it's closer to flashcore I guess. Fun record, nice and repetitive for those who enjoy that, not a terrible pick.
-----
Squarepusher | Go Plastic
Extremely biased pick from me, and definitely more on the outsider drill-n-bass end of things, but for that it is an absolute must listen. If you are at all interested in a more glitch/resample chop oriented record that keeps you guessing, please give Go Plastic a go. Sort of out of place in this list as it is a record I actually personally love, but I guess that's what happens when it isn't just straight up ambient drum-n-bass.
-----
Squarepusher | Ufabulum
Yeah, yeah, okay. Fine last Squarepusher record on this list, but this one is a bit different in that it actually bridges more-so on the ambient side of things. Actually stepping into spaces which are identifiably "breakcore-y", and is absolutely a stepping stone into Jenkinson's more challenging works for someone from the liquid/ambient space.
-----
Alec Empire | Intelligence and Sacrifice
Another artist integral to the early DHR scene along with Christoph, we see Alec really blossom into: a gabber record that I can tolerate! Personally really not a fan of gabber as its stylistic choices are just so brash for my tastes, but this is absolutely a great intro to those from ambient spaces to get into that more hardcore crunchy/flashy sound. Similar place as the I Broke My Robot Record in that regard. (Also check out Alec's collaborations with Christoph De Babalon if you happen to really enjoy this record, and possibly venture into Kid606 if you are so enticed...)
addendum: yes yes machine girl does exist to but im assuming everyone is already aware of them at this point
The absolute pinnacle of Tortoise and one of the most definitive alternative records ever released.
The band's final project with Slint guitarist David Pajo, and first with jazz guitarist Jeff Parker, TNT is arranged and produced from a background across genres. From contemporary classical to jazz, from rock to techno and dub, TNT is by far the band's most versatile project.
Continuing the "instrumental narrative" stylings heard on their previous record Millions Living Now Will Never Die (1996), each track speaks without verbosity. Production is central; John McEntire situates TNT's thoughtful and balanced mastering with all the flair of Tim Gane and Brian Eno on their most playful arrangements. Sweeping high end textures and supportive analog percussion on tracks like "Swung From The Gutters", "The Equator", "In Sarah, Mencken, Christ, and Beethoven There Were Women and Men", and "The Suspension Bridge at Iguazu Falls" reinforce the swirling and spatially complexity in the album's instrumentation. Not to mention, the more electronically experimental tracks present on the record, with versatility in an almost attenuated IDM-style fusion track with "Almost Always Is Nearly Enough" into the titular "Jetty" extending the album's Afro-Cuban influences across into the electronic end of the arrangement.
As many of Tortoise's projects do, the album invents a discernable space, and its sonic shapes traipse within it and beyond it.
The instrumentation continues to iterate on forms from their sophomore album Millions Living Now Will Never Die. Especially noticeable on "I Set My Face to the Hillside" with its bittersweet harmonica and string lead over a complex supporting tonal structure, and "Ten-Day Interval" with its dominant mallet progression, accented by sonorous interlayered piano stabs. The band also makes its first undeniable march into krautrock:
The sweetly climactic brass from Rob Mazurek and Sarah Smith on the album's title track, into "Swung From the Gutters", featuring borderline industrial sound design straight out of Steve Reich's Different Trains (1988); both tracks with a supporting a progressive jazz structure headlined by Parker and Pajo.
The final track, "Everglade", could slot right into an NEU! or Eno record with its loose tempo structure and subtle synth support for Pajo and Parker's mutli-guitar harmonization which the track is built around.
TNT is one of the most thoughtfully built sonic artworks I have ever experienced, and I highly recommend a deep listen for anyone inclined. Boundless and meditative, TNT is #1 in Tortoise's discography countdown- and is easily one of the greatest alternative records ever constructed.
A delicate record: Millions Now Living Will Never Die is an absolute pillar of rock history.
The record begins with "Djed", a 20-minute-long veritable instrumental anthem. The track begins with sounds identifiably recalling their debut record, but around its halfway point it experiences an extreme tonal and timbral shift; we enter the establishment of Tortoise's signature sound.
A repeating mallet line under which a thumping distorted bassline line crunches along. As it progresses, track necks you towards a glitch production flex-out, layering continual live instrumentation as it builds. For the first time, the band demonstrates their innate ability to transport the listener, sounds gaining a palpable shape and space, something which now defines Tortoise's sonic profile, and it is breathtaking.
Guitarist David Pajo (most notable for his work as guitarist in the post-hardcore project Slint) makes his debut with Tortoise, and the influence is clear. Furthermore, the same year the album released, Tortoise began a tour with fellow post-rock legends Stereolab, whose mutual influences cannot be understated. Extenuated by John McEntire's production role, the tones and choices for the melodies across the record are some of the band's most memorable, which would continue and evolve into the band's next record TNT (1998).
Tortoise takes a monumental step away from their initial drone-y sound found on their self-titled debut in 1994, with more pronounced and emotionally charged tunes across the project's six track runtime. There is an air of post minimalistic stylization to the record, something akin to the works of Steve Riech, especially in the instrumentation. Notably repetitive but textured and nuanced in accompaniment.
The final track "Along the Banks of Rivers" is a perfect example of this. The guitar performance on the track, backed by subtle percussion, synthesizer and dark breathy chords are heart-wrenchingly tragic and elegant.
Millions Living Now Will Never Die is record of progression. Both literally in the tracks themselves, and simultaneously for the band's sound. Tortoise establishes their "meat and potatoes"- so to speak -and it is instantly addictive, eventually further perfected on their next record with Jeff Parker's debut as an integral member of the band.
Revolutionary, and assuredly a must listen, Millions Living Now Will Never Die places at #2 in Tortoise's discography countdown.
The beginning of Tortoise's career, from the ashes of post-hardcore project Bastro, came a new sound, one which would captivate a scene and cascade into one of the most influential scenes of the late 20th century.
Repeating and droning basslines and the noisy accompaniment of the production and melodic instrumentation are psychedelic and ethereal. The album has its feet firmly in that post rock sound, but with forays into jazz rock and avant-prog and even folktronica at times, Bintey, Herndon, McEntire, and Brown create the atmosphere of one of the most influential records in alt history.
The meditative "Magnet Pulls Through the Air" establishes a precedent sound which is further developed as the record progresses. Into "Night Air" and "Ry Cooder", we hear the genesis of arrangements which would define their coming records. Mallet percussion, muted bass tones and droning harmonica underscore these tracks.
As the record progresses, we bounce between extremes. The dark ambience of "Onions Wrapped in Rubber", "Flyrod" and "His Second Story Island", into the droning synthesizers on "Tin Cans & Twine" backed by live instrumentation, making our way back to a driving jazz rock tune on "Spiderwebbed" and "On Noble". Iterations of these ideas continue throughout the LP and would eventually develop into the golden age of Tortoise across their next records.
The record where it all started, the start of an exploration for what rock could be.
Their self-titled debut, an establishment of their sound which would evolve into tunes which define the post-rock canon and established the "Chicago School" scene (featuring acts like American Football, Trans Am, Sam Prekop/The Sea and Cake, and more), Tortoise (1994) is an incredible #3 in their discography countdown.
Tortoise band kidnaps Brian Eno and absorbs him: The Album
We've left behind a lot of the drone-y Yo La Tengo-y post rock for this record and firmly planted as a krautrock project. Much like their peers in the "Chicago School" scene, Trans Am, this project is subversive with its electronic and almost techno at times production, creating and revolutionizing this fusion (which we hear again on their most recent project Touch in 2025).
The sounds on Standards could almost have a physical shape. The absolute blast heard on the album's intro "Seneca", the ticking diaspora of "Eros", the cubic pulsations of "Six Pack", and the almost perturbed meandering of "Blackjack". There is an emphasis on these particular expressions per track and is a perfect example of early Tortoise's emotionally charged arrangement rollercoasters across the playtime of their records.
The distortion and noise elements feel straight out of Cluster and Eno (1977), backed by a more contemporary krautrock-ian feel of records like Cobra and Phases Group Play Voltage in the Milky Night (1999) by Stereolab, especially heard in the album's percussion.
For Tortoise, Standards is their krautrock peak. Reaching and at times surpassing the levels of founders like Brian Eno, Cluster, and NEU!. While there are some tracks which venture towards that more typical post-rock feel; the highlights are rambunctious kraut experiences.
2001's Standards stands tall at #4 in Tortoise's discography countdown.
