Philip Sherburne

writer

Biography

  • Autre Ne Veut's Remix of Cid Rim's

    Autre Ne Veut's Remix of Cid Rim's 'Extend Ranges' Takes R&B to Church

    Cid Rim's Mute City EP, released on LuckyMe last month, doesn't sound like the work of a producer who's only been putting out records for a few years. Slathered in color and as vividly textured as a nettle's underside, it's mature without being stodgy, extending LuckyMe's super-saturated beat-music aesthetic in multiple directions at once: Electro-funk, 8-bit balladry, progressive rock. The way the Austrian producer doles out tricky rhythms with effortless finesse, it makes sense that he was trained as a free-jazz drummer.Now, Mike Slott, Joseph Marinetti, and Autre Ne Veut all try their hand at remixing tracks from the EP. Autre Ne Veut takes the beatless, rose-tinted instrumental "Extend Ranges" and flips it into an R&B dirge with ecclesiastical overtones — complete with Fairlight choirs — that's halfway between Forest Swords and Arvo Pärt. Listen to the remix in full below.

  • Jensen Sportag 'Rain Code' Stream

    Hear Jensen Sportag's Woozily Seductive 'Rain Code'

    You wouldn't necessarily guess that Austin Wilkinson and Elvis Craig are from Nashville. The music they record as Jensen Sportag — the name's a tribute, apparently, to a fictional (?) ex-tennis pro and avant-garde composer from Denmark — conjures gauzy images of a timeless neverzone where contemporary R&B and '80s Skinemax B-roll intermingle with glitched-out ambient music, like some delirious three-way between R. Kelly, Luomo, and the Durutti Column.They've come a long way from the Chromeo-plated electro-funk of their 2006 debut, which featured songs like "Japanese Zombie Schoolgirls" and a cameo (and genitalia-baring cover art) from Ariel Pink.

  • Cirque du Soleil aerial performers entertain the crowd at Light Nightclub inside Mandalay Bay Hotel & Casino in Las Vegas on July 5, 2013.

    Caligula Would Have Blushed: Las Vegas' EDM Rulers Try to Rewrite Dance-Music History

    For anyone who can't resist rubbernecking while the over-leveraged EDM boom drives itself off a cliff, The New Yorker last week published a fascinating peek at how big money, and the 30-liter bottles of champagne that it can buy, is reshaping American dance-music culture.The Dutch DJ Afrojack was the story's nominal subject, but the key takeaways were economic. For instance, Afrojack earns $150,000 for a night's work at Las Vegas' XS nightclub, one of four venues housed in Steve Wynn's Encore and Wynn resorts. That, apparently, is chump change: Over at the recently opened Hakkasan, Calvin Harris is getting an estimated $300,000 per show; Deadmau5, something north of that.

  • Opening night at the Warehouse Project

    One Dead, Five Hospitalized at U.K.'s Warehouse Project Opening

    What has been an unusually lethal summer for dance-music fans looks like it may turn into an equally tragic autumn. A 30-year-old man is dead and five other people were hospitalized following the opening of Manchester, England's Warehouse Project party last night, reports BBC News. A police spokesperson said they believe the drug ecstasy to be the cause, although no more concrete information was given.

  • Patrick Cowley 'Nightcrawler' Stream

    Patrick Cowley's 'Nightcrawler' Is the Eeriest Porn Soundtrack You've Never Heard

    The San Francisco disco producer Patrick Cowley was one of the chief architects of the style known as hi-NRG, a bouncy, keyboard-heavy extrapolation of Giorgio Moroder's robo-disco chug.

  • Disclosure

    Dance Tracks of the Week: Paul Woolford Takes Disclosure to Piano-House Heaven

    Disclosure, "Help Me Lose My Mind (Paul Woolford Remix)" (PMR/Island) So far, the remixes inspired by Disclosure's Settle have generally avoided anything approaching a straight-ahead dance floor (save, perhaps, Totally Enormous Extinct Dinosaurs' trim, kinetic "F For You" remix). Flume's "You & Me" re-do flopped around like a carnival seal on a cocktail of nitrous and helium; Hudson Mohawke's "White Noise" update tangled bit-crushed synths with AlunaGeorge's peppy, sped-up vocals in a way that seemed almost willfully sloppy (or at least gangly, like a teen in mid-growth spurt who hasn't quite figured out his new center of gravity). So it's something of a surprise that the latest remix, of "Help Me Lose My Mind," comes from Paul Woolford, who sets aside the turbulence of his Special Request work for easygoing piano house.

  • The Field (Axel Willner)

    Stream the Field's Sublime 'Cupid's Head'

    We hope that your typical Thursday schedule allows for an uninterrupted hour in the Lay-Z-Boy, because Kompakt has just made the Field's upcoming album, Cupid's Head, streaming in full. To tweak a phrase from the Swedish techno-dreamweaver himself, from here we go horizontal.Cupid's Head is Axel Willner's fourth studio album under the Field alias; early in 2012, he also released the Krautier, dronier And Never Ending Nights as Loops of Your Heart. Willner came on the scene in 2007 with From Here We Go Sublime, a sun-kissed take on ambient pop that flipped Lionel Richie samples into frictionless after-hours bliss; for Yesterday and Today and Looping State of Mind, he turned to a full band to give his smeary disco extra heft.

  • Dirtyphonics 'Hanging On Me feat. Liela Moss' Kastle Remix Premiere

    Kastle Wrings a Bubbly 2-Step Remix out of Dirtyphonics' Brutal 'Hanging on Me'

    Is there any sound so tough that a U.K. garage refix can't turn into something pliable and seductive? Apparently, not, at least judging from the Los Angeles producer Kastle's remix of "Hanging on Me," a new song from the French quartet Dirtyphonics. Their recent singles have typically trod the line between headbanging and Ed Banging: "No Stopping Us," featuring Foreign Beggars, was hip-house via Alice in Chains, while "Walk in the Fire" was forged of blast beats and chugging metal guitars. "Hanging on Me" is similar, marrying Master of Puppets-inspired twinned leads to a shuddering, dubsteppy cadence and topping it off with vocals from the Duke Spirit's Liela Moss, who here sounds, improbably but intriguingly, a little like Cat Power imitating Ozzy Osbourne.

  • Melé 'Fantazia' Stream

    Liverpool Beatsmith Melé Tips Hat to NES on 'Melé Vanelé Vol. 2' Mixtape

    Forget about Grand Theft Auto V: Liverpool beatsmith Melé takes things back to the glory days of NES on his videogame-themed new mixtape, Melé Vanelé Vol. 2. Across tracks with titles like "Streets of Rage" and "Final Boss," Melé (Krissy Peers) indulges gamer nostalgia with more bleeps, pings, and 8-bit chimes than you could shake a Powergloved fist at. Nevertheless, the followup to last year's Melé Vanelé mixtape is a thoroughly modern affair, mixing up skittering southern rap beats, brittle grime, and breakbeat hardcore with hi-def sound design that could set any cyborg's microchips on edge. To wit: "Fantazia," a dizzying, 160-BPM cut utilizing freezer-burned bass buzz, distended diva wails, and a weirdly elastic beat that moves like a Slinky marching down the stairs.Listen to the song in full here now; the mixtape will be released as a free download on September 30.

  • Factory Floor

    Factory Floor: Post-Punk and Acid House Collide in U.K. Trio's Artful Throb

    Who: The members of U.K. trio Factory Floor — Gabe Gurnsey, Nik Void, and Dominic Butler — downplay any explicit link between their name and Tony Wilson's Factory Records, but you could be forgiven for believing otherwise, if only for the way their taut, throbbing, overwhelmingly textural jams close the gap between gritty post-punk and springy machine music, the iconic Manchester label's opposing poles. "The feedback we're getting is that our music is hitting all these different genres, and we're stuck on the fence in the middle," says vocalist Void, who cites Glenn Branca and Rhys Chatham as inspirations for her own style of deconstructed guitar work.

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