Philip Sherburne

writer

Biography

  • Mark de Clive-Lowe

    Watch Mark de Clive-Lowe's On-the-Fly Cover of Pal Joey's 'Hot Music'

    Back in the heyday of the style known as broken beat, the New Zealand-born musician Mark de Clive-Lowe was one of the scene's key players, putting out tracks like "Move On Up" under his own name and also lending his formidable keyboard talents to records from Bugz in the Attic, Recloose, DJ Spinna, Zed Bias, and even the Japanese techno producer Ken Ishii. Now based in Los Angeles, de Clive-Lowe is still out there tickling the ivories — and pounding the pavement. His style of recording requires requires living, breathing musicians with mortgages and mouths to feed, plus copious studio time — a setup that's practically a non-starter in today's atrophying music industry.

  • M.I.A. at New York's Terminal 5

    WikiLeaks' Julian Assange Opens for M.I.A. in New York via Skype

    M.I.A.'s radical chic got a boost last night when she enlisted WikiLeaks founder Julian Assange to open her New York City show at Terminal 5, reports MusicFeeds. With his image projected onto a massive screen on stage, the embattled hacktivist joined M.I.A. via Skype from London, where he remains holed up in the Ecuadorian embassy.While we're still not sure what he actually said — the twitterverse is heavy on images from the event, but no quotes have surfaced — one message remains loud and clear: Holograms are so over, and dark-web TED talks are in. (Surely, somewhere right now, frantic artist managers are trying to wrangle Edward Snowden and Chelsea Manning for appearances at Coachella 2014.)This isn't the first time the button-pushing, bird-flipping pop star has collaborated with Assange.

  • Katy B

    Dance Tracks of the Week: Katy B Toughens Up on the Dramatic, Dangerous 'I Like You'

    Katy B, "I Like You" (Ammunition / Sony) Katy B arrived at a time when dubstep needed fresh voices to help tip it into the pop sphere, and she did just that with her appearance on Magnetic Man's "Perfect Stranger" and her own "Katy on a Mission." Beyond the strength of her voice itself, flitting between reggae declamation and R&B's whispered intimacy, she had a savvy sense of how to ride dubstep's beats, bobbing above its lurch and providing a familiar through-line for listeners still coming to grips with the form.But the pop landscape has changed quite a bit since 2011 — dubstep is long gone, and house is in the ascendant — and Katy has done her best to adapt.

  • Detail from the cover of Lady Gaga's 'Artpop'

    Hear Lady Gaga's Sun Ra-Quoting, Zombie Zombie-Sampling 'Venus'

    Lady Gaga has already proved her underground bona fides via an appearance — two of them, actually — at Berlin's Berghain club. But that's nothing compared to the subcultural excavation she undertakes with her new single, "Venus.""Venus," cowritten by Gaga and core Artpop collaborators Paul Blair (DJ White Shadow), Nick Monson, Dino Zisis, and Hugo Leclercq — a.k.a. the 19-year-old French EDM producer Madeon — contains an officially licensed sample of "Rocket Number 9," recorded by the French synth-rockers Zombie Zombie. For fans of France's dance-music underground, that's pretty unexpected. Zombie Zombie, the duo of Etienne Jaumet and Cosmic Neman, are known for a darkly seductive sound that draws from Krautrock, French cosmic rockers like Heldon, and the horror soundtracks of John Carpenter.

  • White Material's DJ Richard, Galcher Lustwerk, and Young Male

    Dance Tracks of the Week: More From New York's Mysterious, Pricey White Material Collective

    White Material, White Material (White Material)The hype on some of this shit is getting out of control. I ordered the fourth and latest 12-inch from New York's White Material crew from Honest Jon's two weeks ago for the retail price of £9.99 plus shipping. Today, the asking prices for the two copies on Discogs are $65 and $75, respectively. (The same range goes for the label's first two releases, released in August and December 2012; the third can be had for a bargain $37.) By now, we all know the drill. The collective was virtually unknown until late last year. Clips on SoundCloud, a DJ set of all-original material from member Galcher Lustwerk, ensuing Twitter buzz, and limited supply helped drive demand.

  • Pusha T and Rustie

    Hear Rustie's Ultra-Thizzed Remix of Pusha T and Tyler, the Creator's 'Trouble on My Mind'

    "Who else could put the hipsters with felons and thugs?" rapped Pusha T on "Trouble on My Mind," off his 2011 mixtape Wrath of God II. The former Clipseman was talking about Rick ("Cocaine's a hell of a drug") James, but he was also talking about his own role as a bridger of worlds, which he recently made even more amply clear on his dark, twisted My Name Is My Name.Now that bridge gets an upper deck courtesy of Rustie, a Glasgow beat architect best known for erecting gleaming, crystalline castles from a foundation of dubstep and southern rap. Originally produced for a Wrath of God remix EP that was to feature S-Type, Machinedrum, Lunice, and Hudson Mohawke, the remix has lain in the vaults for over a year, but LuckyMe has dusted it off in time for Rustie's upcoming string of U.S.

  • Physical Therapy

    Dance Tracks of the Week: Physical Therapy Stretches Techno to the Breaking Point

    Physical Therapy, Yes, I'm Elastic EP (Fifth Wall) "Elasticity" has become something of a standard talking point for Nicolas Jaar; he's been telling interviewers about the virtues of rubberized timekeeping for at least four years now, and he trotted out the concept again last week in a New York Times story that was notable mainly for the fact that the Grey Lady rarely talks about recreational ketamine use among the techno-hipster set. (In fairness, Jaar professes to be a teetotaler when it comes to horse tranquilizers.) But the indietronic Ivy Leaguer's slo-mo beats sound positively rigid compared to the head-spinning flux of Physical Therapy's Yes, I'm Elastic EP. The title track is self-explanatory, with wind-whipped dub delay wrapping around rickety boom-tick beats and all manner of pitched-down voices dissolving into a hard, metallic flange.

  • Tim Hecker performing at Théâtre Rialto for Pop Montreal

    Tim Hecker Conducts Harrowing, Thrilling Drone Warfare on His New Masterpiece, 'Virgins'

    At the risk of falling prey to the Intentional Fallacy, it seems safe to surmise that Tim Hecker was working through some shit on his last album, 2011's Ravedeath, 1972. The centerpiece of the record was a pair of tracks called "Hatred of Music I" and "Hatred of Music II," for crying out loud, followed by "Analog Paralysis, 1978" and "Studio Suicide, 1980" — titles that hinted darkly at the kind of claustrophobic neuroses and oversaturated anxiety-of-influence common to the electronic composer, even as the music spoke to ecstasy, transcendence, and the promise of freedom at sound's molecular level.Who among us hasn't felt a similar rage? And Hecker, at least, has earned his frustration. The Montreal-based musician is noted for his perfectionism, a near-OCD attention to detail that yields richly hued, minutely pockmarked drone-scapes that are unusually rich in grain and nuance.

  • Ultramarine, 'This Time Last Year'

    Dance Tracks of the Week: Ultramarine's 'This Time Last Year' Recasts Techno's Future-Past

    Ultramarine, This Time Last Year (Real Soon) One of the most quietly compelling electronic albums of 2013 is by an act you may not have even heard of — and yet they've been around for nearly a quarter century. Don't beat yourself up over it, though: The last thing the duo released came out in 1998, save for a sort of stopgap 12-inch, in 2003, that reissued a set of Carl Craig remixes done in 1993. (That main "Hooter" remix still goes off, by the way.)Craig's crisp-but-dubby, sumptuously stark mixes anticipated the sound of New York producers like Fred P and Levon Vincent, which makes sense: Ultramarine have always been world-bridgers.

  • Oneman 'Eyedress' Stream

    Hear Eyedress' Skulking 'No Competition,' From Oneman's Upcoming 'Solitaire Vol. 2' Mixtape

    On Monday, October 14, Oneman will drop Solitaire Vol. 2, the second mixtape in a series showcasing the South London DJ's zig-zag trajectory along dance music's jagged edge. Released back in January, Solitaire Vol. 1 blazed through 40 cuts in two hours, balancing new-school U.K. club music (Pev & Kowton, Guy Andrews, L-Vis 1990) with grime (Plasticman), dubstep (Mala), and Oneman's own edits of Waka Flocka with Ginuine, and TNGHT with B.O.B. featuring T.I. and Juicy J. The full track listing for the new mix hasn't been revealed yet, but it will include new, exclusive cuts from Brainfeeder's Jeremiah Jae, Swamp 81's Loefah, and Lofty 305 x Brtsh Knights, along with tracks from Bok Bok & Tom Trago, Danny Brown, and Denzel Curry. Some of those are likely to be new names to many listeners, but that's why we turn to Oneman, right?

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