Philip Sherburne

writer

Biography

  • Pional and John Talabot

    Download a Dub Version of John Talabot and Pional's Dreamy 'Destiny'

    Germany's Permanent Vacation label recently released a punchier club edit (on bright green wax!) of John Talabot's "So Will Be Now," one of the highlights of the Barcelona producer's 2012 album, ƒIN; now Talabot is giving away a dub version of the album's other standout song, "Destiny." Like "So Will Be Now," "Destiny" is a collaboration with Madrid's Pional; the "Dubtool Version," available as a free download from Talabot's SoundCloud page, sends Pional's voice tumbling down a rabbit hole of delay, and it strips back the rest of the tune to the essentials, just spongy robo-disco bass and skeletal drum machine.Cop the song below, and keep your eye out for new music from both producers, who recently wrapped up a tour supporting the xx and are now back in their respective studios and working on new material.

  • Moby Opens Vaults to Independent Filmmakers, for Free

    Sync or Swim: Moby Opens Vaults to Independent Filmmakers, for Free

    Broke independent filmmakers (is there any other kind?), rejoice: Moby wants you to use his music, for free.Perhaps feeling inspired by Colin Rich's elegant video for "The Lonely Night," Moby's Record Store Day collaboration with Mark Lanegan, the New York musician has relaunched mobygratis, a music library intended for "independent and non-profit filmmakers, film students, and anyone in need of free music for their independent, non-profit film, video, or short." Originally established in 2008, the mobygratis catalog has been updated with over 150 tracks drawn from Moby's discography (as well as his hard drives).

  • Watching Kraftwerk in 3D at Sonar

    The 10 Best Things We Saw at Sonar 2013

    For its 20th anniversary, Barcelona's Sónar festival made one significant change, moving from its customary daytime venue, a museum complex in the center of the city, to an enormous convention center towards the edge of town. And that increased capacity meant a bigger festival than ever, with 121,000 bodies counted across three days and two nights of techno, house, bass music, indie pop, rap, and whatever you want to call Major Lazer's particular mélange. Their presence on the bill, not to mention Skrillex's headlining gig, left some long-time attendees questioning what had happened to the key adjective in Sónar's subtitle, "International Festival of Advanced Music and New Media." But even when performances weren't forward looking, the energy of the crowd (particularly at the nighttime events, which ran from 10 p.m.

  • SND.PE vol. 01 Cover Art

    Hear Djedjotronic and Maelstrom's Banging 'Buran,' Via Sound Pellegrino

    France's Sound Pellegrino label launched in 2009 with Zombie Disco Squad's "Esperanto"/"Eurovision" single. Laced with Brazilian funk carioca, it was a laser beam across the bow of a complacent club-music underground. The cover art on that record and subsequent releases riffed on Deutsche Grammophon's iconic yellow plaque — old-world gravitas remixed for the new school — as if to say, "This is the new tradition, suckers!" Four years and 35 releases on, founders Teki Latex and DJ Orgasmic, former members of Paris' electro-leaning rap crew TTC, have made good on their promise.The label's first full-length compilation, SND.PE 01, shows just how far the Sound Pellegrino sound has come.

  • Francis Bebey, 'Remixes'

    Dance Tracks of the Week: Pilooski, Daphni Remix Makossa Legend Francis Bebey

    Francis Bebey, Remix (Born Bad Records) There's no improving upon the work of the Cameroonian polymath Francis Bebey, a journalist, novelist, and musician who mixed African and Latin styles with jazz and electronic music, sounding at times like some dream combination of Afrobeat and Kraftwerk. (Born Bad's anthology of his work, African Electronic Music 1975-1982, was one of SPIN's 10 Best Reissues of 2012; I also covered it in my Control Voltage column.) So you could, understandably, be suspicious of an attempt to remix the work of the late musician, who passed away in 2001. Fortunately, the artists commissioned here appear to have approached the source material with the respect it deserves (yet also, fortunately, without being too dainty about it).

  • East German Olympic team training tapes

    Olympic-Sized Hoax? 'Lost' Krautrock Warm-Up Tapes Mysteriously Surface

    As any runner can tell you, there's a fine art to selecting the right music to keep you going, mile after mile. As a result, a whole mini-industry has sprung up to supply athletes with performance-enhancing playlists, from websites like Jog.FM and Rock My Run to Nike's Original Run series of asphalt-friendly mixes from A-Trak, Cassius, and LCD Soundsystem. Yay, capitalism! But, as it turns out — and is so often the case where sports are involved — the Communists were way ahead of us.

  • Destroid, San Francisco, 2013

    Cowabunga! Dubstep Supergroup Destroid Plot Revenge

    Move over, Daft Punk: Now there's something even cyberer. Meet Destroid, the dubstep supergroup featuring Excision, Downlink, and former Pendulum drummer KJ Sawka. They played their debut gig at San Francisco's Warfield Theater on Monday, and from the video of the event, these three are clearly intent upon taking live EDM to the next level. Or unlocking the next level, at least — because with Destroid, it's hard to tell where the line between IRL and X-Box lies. (You can stream their new album, Destroid - The Invasion, right here on SPIN.)Their costumes look like Daft Punk's robot suits as re-imagined by Eurovision champs Lordi. Excision and Downlink might be playing modded Rock Band game controllers.

  • Mathew Jonson

    Dance Tracks of the Week: Mathew Jonson's Entrancing Techno Sweet Spot

    Mathew Jonson Her Blurry Pictures (Crosstown Rebels) Mathew Jonson likes his techno rippling, rubbery, and slightly bent — full of gracefully arced melodies, twanging analog timbres, and crisp, swinging drum machines — and over the past dozen years the Canadian producer has become a master of rearranging those elements into entrancing new configurations. Sometimes it hasn't been easy to tell where his signature becomes a formula. His debut album, 2010's Agents of Time, riffed on his favorite themes in a way that often made the new tracks seem like tangents sprung from old ones, and not always productively. But here, those forking paths lead back to the source of what makes Jonson tick. Her Blurry Pictures is silkier and milkier than anything he's done before (with the exception, perhaps, of "When Love Feels Like Crying").

  • Christian Marclay, 'Groove'

    Christian Marclay's Ambient Masterpiece 'Groove' Available Again on Limited Vinyl

    Long before The Clock turned him into the world's best loved video remixer — the 24-hour video installation is essentially the supercut to end all supercuts — Christian Marclay was best known as a sound artist. Much of his work treated "sound" only glancingly: For his Body Mix series, he created uncanny, sexually charged collages out of classic album covers; The Beatles is a pillow woven from magnetic tape containing the Fab Four's entire discography. One constant, however, has been his interest in the material culture of recorded media. Perhaps unsurprisingly, Marclay began as a DJ — or a kind of DJ, anyway, carving locked grooves into thrift-store vinyl and bringing turntablism into the world of free improv.

  • Hyetal

    Hyetal: Bristol Bass Traveler Intertwines Grime, Krautrock, and Devo

    Who: "What attracted me to the whatever-you-want-to-call-it," says Hyetal (a.k.a. David Corney), referring to the purple/wonky/dubstep-not-dubstep scene of the late 2000s, "is that there didn't seem to be any obvious boundaries. People were bringing all sorts of different influences, and I found that really interesting." Beginning in 2009, the Southampton transplant put his own stamp on Bristol's bass-that-shall-not-be-named movement with a string of flickering, percussive singles; both solo and in collaboration with peers such as Shortstuff, Baobinga, Peverelist, and Julio Bashmore. The scene, which played fast and loose with elements of dubstep, house, and U.K. funky, flirted with each genre without committing to any one of them. But, he says, "as it got more formulated, in a more traditional dance-music sense, I lost interest.

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