Philip Sherburne



  • Rudimental: VG+

    Rudimental's 'Home' is a U.K. Chart-Storming Monster Bridging Pop and the Dance Underground

    They grow up so fast! In the summer of 2011, London's Rudimental released their first single, "Deep in the Valley," a promising if not exactly earthshaking example of the house music variant known as U.K. funky. The 8-bit blips were relatively novel; the boilerplate MC toasting ("Deep in the underground!"), not so much. It was a sound informed by London pirate radio, and also designed for it — not aggressively insular, but contentedly so. And while plenty of minor pop stars (Dizzee Rascal, Tinie Tempah) got their start broadcasting from unlicensed transmitters in tower blocks, there was little here to suggest that this new quartet was capable of using the pirate plank as a springboard to the Top of the Pops.But just two years later, they've got a Glastonbury appearance and a BRIT Awards nomination under their belts, plus two U.K. No.

  • The Robert Glasper Experiment

    Robert Glasper Experiment Returns to Blue Note with Star-Studded 'Black Radio 2'

    The year just got a lot more soulful. This October 29, the Robert Glasper Experiment will return to Blue Note Records with Black Radio 2, reports Okayplayer, who yesterday premiered the opalescent album teaser "Calls," featuring Jill Scott.The jazz pianist and his ensemble scored a crossover hit with last year's Black Radio, a collection of R&B-inflected songs featuring guest vocals from Erykah Badu, Lupe Fiasco, Bilal, Yasiin Bey (f.k.a. Mos Def), and Meshell Ndegeocello, among others; after topping Billboard's jazz chart and iTunes' R&B chart, it took home the 2013 Grammy for Best R&B Album.

  • Valencia, Spain's Jupiter Lion channel Krautrock via EBM

    Jupiter Lion Go 'Gonzo' on Throbbing, Industrial 'Black Mouth' Remix

    Valencia, Spain has never attained the mythological status of Ibiza, just 80-odd miles to the east. While the White Isle's contributions to club culture are legendary, few non-Spaniards know of that port city's crucial role as a crucible of underground music from the 1980s on.At clubs like Spook and Barraca, new wave, industrial, and Belgian New Beat swirled together in a shadowy counterpoint to Balearic disco, and in the '90s, all-night clubbing gave way to the Ruta del Bakalao, a weekend-long party circuit fueled by ecstasy, speed, and the pounding beat of makina.

  • He will dock you: Pan Sonic's Mika Vainio

    Dance Tracks of the Week: Pan Sonic's Mika Vainio Rips Techno a New One

    Mika Vainio, Kilo (Blast First Petite)Sorry, noise-techno dude/ttes, but I hope your state's unemployment benefits are generous, because Mika Vainio's new album has just made you redundant. OK, that's harsh, but Vainio has been whomping out low-end-intensive industrial throb for close to 20 years, and his mastery of the form is self evident. In contrast to the sizzling drones and subtle dynamics of recent records like FE3O4 and Life (…It Eats You Up), Kilo loops back to the full-body blast of his duo Pan Sonic. It's an avalanche of bass, a full-metal racket that isn't afraid to cross over into Sunn O)))'s scorched-earth territory. It's the first time in a long time that I can remember Vainio working with drum machines, or at least foregrounding them this way.

  • Jon Hopkins

    Jon Hopkins: London Dance Architect Trusts His Gut, Relaxes His Brain

    Who: "I'm never really conscious of what I'm being influenced by when I'm writing," says London's Jon Hopkins by way of introduction to his new album, Immunity. "I really do just write on instinct." Showcasing a vision of techno at its most four-dimensionally epic — pulsing and throbbing in all directions, like a rave inside a thunderhead — the album marks a considerable shift from the airy, electro-acoustic atmospheres of his three previous solo records.Techno Is Hard: While touring 2009's Insides, he says, "I found myself on lineups with loads of amazing different people, and I started to get exposed to really intelligent ways of involving danceable rhythms with deeper music. The kind of rhythms that got stuck in my head over those years started coming out as soon as I started writing Immunity." Not that it was an easy process.

  • 20 Werks of Wonder: Two Decades of Astralwerks

    20 Werks of Wonder: Two Decades of Astralwerks

    It's hard to imagine now, when everyone from chillwavers to Kanye is mining old chillout-room B-sides for inspiration, but in 1993, the idea of ambient electronic music was so alien to most American listeners that a New York Times feature on the genre found it necessary to warn, "Strangers to ambient house may find the variety in these works hard to grasp at first. But a few listens in the proper state of reflective attention reveal the span of experimental moves that the creators of ambient house are making with seemingly random sounds."The occasion for the feature was a compilation, Excursions in Ambience, that had just come out on New York's Caroline Records, an independent label with punk-rock roots that was better known for bands like Hole, Smashing Pumpkins, and Primus.

  • Steve Moore doesn't like leaving the house

    Dance Tracks of the Week: Steve Moore Makes Outsider House for Agoraphobes

    Steve Moore, "Zen Spiders"/"Lwaxana" (Future Times) Zombi's Steve Moore says that his new single "Zen Spiders" is "dance music for people who don't like to dance (or leave the house, or get dressed in the morning)." That sums it up pretty well, although you could certainly sway to it if you wanted to; the drifting arpeggios and lazy pads move like smoke rings on a stifling summer day, but the skipping kick drum and Fairlight stabs lend a breath of fresh air. Pitch it up a notch, and it makes for a lovely complement to Todd Terje's "Snooze 4 Love"; find a few more, and you've got the makings of a DJ mix that's nothing but infinite intro. Moore says that the B-side track, "Lwaxana," "is for people who kinda like dance music but are too high to even think about moving." Substitute "hot" for "high," if you wish, but the point still stands.

  • Blond:Ish

    Stream Blond:ish's Hypnotic 'Inward Visions' EP

    Don't let the name fool you: Blond:ish are making some seriously dark ish on their new single for Kompakt. This is the Montreal-via-London duo's second record for the Cologne label, and like last year's Lovers in Limbo EP, it puts a shadowy spin on the swirling, hypnotic style of house music long practiced by Kompakt's Michael Mayer and Superpitcher. "No Place Like Gnome" sounds a little like a gothed-out remake of Superpitcher's own "Rabbits in a Hurry," in fact, but this rabbit hole leads straight to a deep, dank chamber whose interior decoration is inspired by David Lynch, complete with velvety delay and a hint of twangy electric guitar.

  • Fuck Buttons / Photo by Photoshot/Hulton Archive

    Fuck Buttons, 'Slow Focus' (ATP) Review

    The line between the dance floor and the void has rarely felt more porous than in 2013, a year that has seen bold, bewildering, and body-centric new records from the Knife, James Holden, Blondes, Jon Hopkins, Morphosis, Container, Stave, and Pete Swanson. (Add to that list Black Dice's Eric Copeland, whose forthcoming Joke in the Hole sounds like Tackhead and Raymond Scott collaborating on chopped-and-screwed happy hardcore.) While mainstream dance music has devolved into pop on steroids, the techno/house middle ground chugs away with rote functionalism, and great swaths of the so-called underground kneel at the altar of retro fealty, motley margin-walkers like the aforementioned are forging an alternative tradition out of electronics, improvisation, and the autodidactic spirit of DIY.

  • DJ Rashad does not give a fuck

    Album of the Week: Stream DJ Rashad's Manic, 'Best Cry Ever'-Sampling EP 'I Don't Give a Fuck'

    "We Chicagoans are spoiled, if you know what I mean," says DJ Rashad, sitting in the studio with fellow Chicago footwork trailblazer DJ Spinn. "Footwork has been here for so long. But to other people, once you get out and teach 'em and play some songs, they're like, 'Damn, what's that?' So it's like a new craze all over again for people that never heard it, you know?"Granted, the number of people who have never heard footwork is shrinking rapidly. Just a few years ago, the hyperkinetic, psychedelic dance music (and its clubbier predecessor, juke) was known primarily to select Chicagoans — DJs, dancers, and fans of the style's intricate, acrobatic battle routines. Outsiders had to satiate themselves with YouTube clips for a peek into the culture. But that changed in 2010 when Mike Paradinas' Planet Mu label released Bangs & Works Vol.

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