Philip Sherburne



  • The Haxan Cloak's Bobby Krlic

    The Haxan Cloak, 'Excavation' (Tri Angle)

    Even if you've never heard a lick of the Haxan Cloak's music, you can guess that he makes some pretty sinister stuff. It's right there in the name, after all: The first part comes from Häxan, a 1922 silent film about witchcraft and demonic possession; the second part, evoking the outerwear favored by vampires and villains everywhere, functions as a metaphor for the occult itself. Yorkshire, England's Bobby Krlic has used the moniker since 2009, when he released his self-titled debut album on the metal-leaning Aurora Borealis label.

  • Kyle Hall

    Kyle Hall: Detroit Techno Blueblood Carries Club Thump Into the Future

    Who: Detroit techno fans have long spoken of the movement's first, second, and third "waves" of artists who came along in the late 1980s and early 1990s, but Kyle Hall represents its second generation, literally. His father ran with the West Side's "preps" scene of middle-class kids who dressed in GQ-inspired fashions and gave their parties names like "Charivari," after a New York boutique dedicated to avant-garde European fashion. He learned to spin from Raybone Jones, a highly regarded Detroit DJ and friend of his mother, the singer Penny Wells. (Hall comes from a musical family: His uncle was the late jazz pianist Sir Roland Hanna, his aunt Naima Shambouger is a jazz singer, and another aunt plays "like, world, folk, fusion" violin.)Birth of the Cool: "Listening to ghetto tech on the radio, that was my early introduction to techno," he says.

  • Basement Jaxx, 'Back 2 the Wild'

    Basement Jaxx Return With the Rousing, Uproarious 'Back 2 the Wild'

    The last we heard from Basement Jaxx, in 2011, they were scoring the South London-based sci-fi flick Attack the Block and collaborating with the 60-piece Metropole Orkest on a bombastic orchestral rework of their already maximalist back catalog. It sounds like the subsequent two years away from the studio must have helped clear their heads, because their new single finds them getting back to what they've always done best: punchy, tropical, pop-infused dance cuts with a slightly unhinged sense of fun, and hooks up to here."Back 2 the Wild," which they premiered today on Annie Mac's BBC Radio 1 show, is the kind of tent-toppling Carnival anthem we haven't heard from them since 2003's Kish Kash, maybe even 2001's Rooty. "I wanna go back! Back to the wild!" runs the refrain, over whoops, congas, cowbells, kazoos, and yes, even the occasional bleat of a vuvuzela.

  • Flyer for Noite Principe at Lisbon's Musicbox

    Hear Nigga Fox's Mind-Bending Mix of Kuduro, Batida, and Afro-House

    Are you sitting down? You'd better be when you listen to "Meu Estilo," a 33-minute DJ mix from the Angolan-born, Lisbon-based musician Nigga Fox, because its bewildering, polyrhythmic twists and turns are enough to sweep the rug right out from under your feet. "Meu Estilo" is Portuguese for "My Style," which is fitting, because Fox is definitely doing his own thing. The first nine tracks in the mix, a promo for his appearance at Príncipe Discos' monthly showcase at Lisbon's Musicbox club next week, are all Fox's own, and they suggest an unusually focused musical vision.Sampled hand percussion and drum machines provide the rippling rhythmic base, with shuffling triplets set against a lanky 4/4 pulse; scraps of accordion, synth, and voice are daubed on like wet streaks of paint.

  • Maxmillion Dunbar / Photo by Shawn Brackbill

    Maxmillion Dunbar Talks Hopeful Vibes, Future Times, and 'House of Woo'

    These are bountiful times for fans of outer-limits dance music, so it's saying something that Maxmillion Dunbar has recorded one of the headiest albums you're likely to hear this year, on or off the dance floor. House of Woo, recently released on New York's RVNG label, derives its machine pulse from old-school house, but any further similarity with the current explosion of retro-obsessed, identikit club music ends there.Where other producers use watery, plinking chords as signifiers of "deep," Dunbar creates a far more convincing illusion of depth, drawing you into a sound world of untold dimensions and whipping tangled phrases around your head until you're not sure which way is up. Drum machines play fast and loose with the rhythm, threatening to topple it all to the ground with every bashed-out snare fill and stumbling kick drum. Miraculously, though, it never does come crashing down.

  • RP Boo

    Watch the Strobe-Heavy Video for RP Boo's Footwork Anthem 'Speakers R-4 (Sounds)'

    It's hard to shake the nagging suspicion that electronic dance music is getting awfully, worryingly polite — but don't blame RP Boo. The Chicago native's early releases revolutionized juke and laid the foundations for footwork, the most dizzyingly disruptive style in American dance music. A decade and a half later, he shows no signs of letting the genre he helped invent go gently into that club night. Case in point: "Speakers R-4 (Sounds)," a furiously syncopated cut from his forthcoming album, Legacy.It takes its title from the spoken-word phrase, "Sounds — that's what the speakers are for." A simple enough proposition on paper, but mere transcription doesn't do justice to the wanton way Boo handles his samples, chopping and looping them over syn-toms that rattle like the wheels on a flipped car: "Ooooh, this track is clangin'!" "What they do, what they do, what they do!" "Bang! Bang!

  • 'The Face Of Another' Cover Art

    Hear Bot'Ox's Epic 'The Face of Another' and Download Raudive's Remix

    Following "Basement Love" and "2.4.1," "The Face of Another" is the third single that France's Bot'Ox are releasing in advance of their upcoming album, Sans Dormir, and there are three more to come before the actual long-player drops. That might sound like a lot, but it's clear that Cosmo Vitelli and Julien Briffaz are intent on covering as much ground as they can on their next record, inspired in part by the American open road — so why not prolong the journey and enjoy the ride? Where their previous singles have lit up subterranean disco grooves with elements of John Carpenter and Steely Dan, "The Face of Another" mutates from a winsome electro-pop ditty into epic, soaring space rock, like some strange triangulation between Giorgio Moroder, My Bloody Valentine, and Stereolab.

  • The Knife, we assume

    The Knife, 'Shaking the Habitual' (Mute)

    The run-up to the Knife's new album has been treated like some vast, baffling performance-art piece. But by 2013 roll-out standards, it's actually been pretty straightforward, with videos, press releases, and the inevitable leak or two. Sure, a text that preceded Shaking the Habitual took the form of a kinda-sorta cryptic (but hardly all that out-there) "manifesto" of sorts, but even a cursory read lays out the group's agenda: They're switching things up, they like dance clubs and homemade instruments and long walks on the beach, and, oh yeah, destroy the patriarchy.

  • The Knife / Photo by Alexa Vachon

    Bleeding Edge: The Knife Talk 'Shaking the Habitual'

    In a preparatory manifesto that presaged the release of their new album, the Knife tried to set some terms: "We have a bellyache, a big stink, a major grouse or two with manufactured knowledge. But how do you build an album about not knowing?"The Swedish duo's monumental new album, Shaking the Habitual, is a 98-minute, double-CD release that runs from fourth-world futurist techno to sprawling studies in electro-acoustic soundscaping, as abstract as Continental philosophy. So clearly, not knowing is the way to go —  this is the most visceral, exhilarating music they've ever made, a riot of unstable dance-floor rhythms and mutating sound design that pulls together the best aspects of their previous work and hurtles it so far into the distance that artist and listener alike are left struggling to catch up.

  • Police badge by Dave Conner, speaker by Tobias Rütten / Wikimedia Commons

    Bristol Motorist Arrested for Driving Under the Influence of Drum and Bass

    If you listen to old Metalheadz DJ sets while you're driving to work, just remember: When the MC shouts for a rewind, that doesn't mean to attempt a spin-back on your steering wheel. That seems to be the takeaway from a court case in Bristol, U.K., in which a commercial van operator arrested for driving erratically turned out to have been hopped up on jungle music.Via Ben Beaumont-Thomas, This Is Bristol reports that Aaron Cogley, 25, was pulled over after swerving from lane to lane, cutting off motorists, and running red lights. After a breathalyzer test showed no alcohol in his system, prosecutors say, he told police "he was listening to drum and bass and was in a hurry." The defense lawyer assigned to reprazent him, likewise, entered a plea of temporary insanity due to bass in his client's face, claiming, "It was stupid.

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