Philip Sherburne

writer

Biography

  • 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?

  • Delorean

    Spanish Indie Rockers Delorean Safe After 'Virtual Kidnapping' in Mexico City

    The members of the Basque indie-rock band Delorean are safe after having been victims of what police are calling a "virtual kidnapping" in Mexico City, reports El País. The quartet, which was in town to play the local edition of Montreal's MUTEK festival, was last seen Sunday at the Four Points hotel, in the city's Colonia Roma district. Police sources say that an unidentified caller phoned the band's family members in Guipuzkoa, Spain, claiming that the band was being held captive and demanding a ransom of 5 million pesos (roughly $380,000), setting off an international effort to find the musicians.Now, according to police, the four young men are safe and at liberty. But the story so far seems as shadowy as Delorean's own music is luminous.

  • Trevor Horn ZZT 'The Organization of Pop' Album Stream

    Album of the Week: Stream 'Zang Tuum Tumb,' a 27-Track History of ZTT Records

    The legacy of bands like Frankie Goes to Hollywood, Grace Jones, and Art of Noise actually began more than 100 years ago, with the phrase "Zang Tumb Tuum!"It comes from the Italian Futurist poet Filippo Marinetti, who employed it as an onomatopoeic war cry, a thunderclap to mark the nerve-jangling era of mechanized death. Luigi Russolo quoted a fragment of the resulting 1912 poem the following year in his manifesto, "The Art of Noises," which argued the need for a new kind of music, made of roars and sobs and baked earth, capable of expressing the overwhelming din of the modern age.

  • Frederic Robinson 'Static Float' Track Stream

    Frederic Robinson's 'Static Float' Is an Insanely Detailed Drum 'n' Bass Dreamscape

    Once upon a time, there was a style known as "drill 'n' bass," a rotor-rattling, rivet-busting take on jungle that shook up breakbeat science like a bag full of marbles. By extension, we might call the music that Germany's Frederic Robinson makes "quill 'n' bass," given its feathery beats and delicately filigreed melodies, colored as richly as an illuminated manuscript.The 21-year-old producer's hyperkinetic sense of motion bears some relation to Squarepusher's insanely detailed cut-ups, but Robinson has none of the latter's manic edge or tongue-in-cheek antics; in mood and instrumentation, he comes closer to Four Tet circa Rounds, weaving a porous lattice of chimes, mallets, and agate-colored keyboards over beats that spatter like drops of water in an oiled pan.

  • Kelela

    Kelela's Stunning 'Cut 4 Me' Mixtape Will Suck You Into a Futuristic R&B Vortex

    Kelela's voice is a slow curl of steam rising from the subway grate; it's a beam of light scraped across a curtain of icicles. You know those latticed lasers that protect the crown jewels in heist movies? Her voice is that too, wavering in place and catching dust motes as they drift.And what a pleasure to hear a voice like this — expressive, unusual, practically taking shape right in front of us — and to hear it stretched out over the course of an entire album's worth of music that was made to accommodate its quirks, not just flattened out and racked up alongside a host of other featured vocals over anodyne club-pop productions.Here, in the year 8 A.B. (that's After Burial), a huge swath of dance music has almost forgotten what an original voice sounds like.

  • Jam City's 'Club Constructions'

    Dance Tracks of the Week: Jam City's 'Club Constructions' Will Crush Your DJ Tools

    Jam City, Club Constructions, Vol. 6 (Night Slugs) Night Slugs' Club Constructions series has one of the most unpretentious titles going. Designed to highlight the fact that these are, first and foremost, DJ tools, it's a way of saying, "Hey, don't blame us if you don't find any melodies here." Whether intentionally or not, however — maybe out of humility, maybe out of irony — it seriously undersells what's actually going on here. Because as far as tools go, they don't come more deluxe than this; these are the motherfucking plasma cutters of DJ tools, and they make ordinary drum tracks look like hacksaws by comparison. In fact, maybe it's time we jettison the whole utility conceit altogether, because while these five cuts were designed for club play, they lose nothing heard on their own, unmixed, from start to finish.

  • Load-in at the Warehouse Project

    Following Clubber's Death, Manchester's Warehouse Project to Test, Tweet Bad Pills

    In a recent editorial entitled "Ecstasy: Pointless Deaths," The Economist examined the apparent rise in deaths from MDMA and its imitations and concluded that, in the absence of legalization and regulation — a course favored by the fiscally conservative, socially liberal publication — increased access to drug-testing kits could help reduce fatalities. The editors point to a government-run program in the Netherlands in which clubbers can test their pills on the spot, without fear of legal retribution.Neither the U.K.

  • Lady Gaga

    Lady Gaga to Present 'Artpop' at Berlin's Fabled Berghain Club

    Hang onto your biker caps, Little Monsters: Lady Gaga is booked at Berghain.That's right, Berghain, the holy grail of hedonism, a Berlin nightclub whose reputation is outstripped only by, well, its reputation. Parties there last for days on end, they say, soundtracked only by blast-furnace chug and robots with jackhammers. Clubbers can barely make their way across the dance floor without being sucked into a six-way public sex act, or at least tripping over the loose strings of a leather daddy's unlaced chaps. Sven, the club's bouncer, stands eight feet tall barefoot, has 10 pounds of metal in his facial piercings alone, and has been known to breathe fire at would-be clubbers not fluent in Berliner Schnauze, a local dialect.Or so they say.

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