Philip Sherburne

writer

Biography

  • 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?

  • 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.

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