Philip Sherburne



  • Jamie Lidell

    Hear RL Grime and Salva's Rattling Trap Remix of Jamie Lidell's 'What a Shame'

    "What a Shame" is one of the most unhinged songs on Jamie Lidell's new, self-titled album, with violent trashcan drums underpinning vocals so thickly multitracked they threaten to suck all air out of the room. Leave it to rising trap types RL Grime and Salva to slice open the song's claustrophobic industrial-soul shell and let the oxygen back in. Their "What a Shame" remix, uploaded to SoundCloud this afternoon, sends Lidell's harmonies soaring over tight snare rolls and a queasy square-wave bass line, but all that building tension is just a foil for the track's spectacular instrumental bridge, in which the melody scatters like drops of water in a hot skillet over an electrifying sub-bass thrum. It's devastatingly simple, and simply devastating.The remix is out today on Warp Records; listen to the track in full below.

  • Daft Punk's upcoming album will be called 'Random Access Memories'

    'Get Lucky': Hear 15 More Seconds of Daft Punk's 'Random Access Memories,' Via 'SNL'

    Feeling lucky, punk? You bet! Daft Punk have released yet another 15-second sliver from their forthcoming album, which we now know to be called Random Access Memories, and which is now available for presale on iTunes, ahead of its May 21 release. For the second time this month, the shadowy robot duo took out a quarter-minute commercial spot during Saturday Night Live to drop their latest teaser. (That's right: The show that brought us "Dick in a Box" is now the leading music outlet on television. Sorry, Fallon!)Chock-a-block with talk box ("Get lucky!") and funky clavinet warble, the glimmering filter-disco loop sounds as light and carefree as anything they've done since Homework. Seems like their time with Nile Rodgers may really be turning them human after all.

  • Daft Punk are playing at your house after all

    Daft Punk's New Album 'Random Access Memories' Is Up for Presale on iTunes

    The robot rollout continues. After the duo's now telltale space-helmet image surfaced on posters across Austin, hopes were high that Daft Punk would use SXSW as the platform to launch their long-awaited new longplayer. After all, they'd already teased us with that 15-second TV commercial during SNL. Perhaps they'd materialize in the slot on that ginormous Doritos machine alongside Nile Rodgers. But alas, it was not to be, and this week, despite alleged sightings of the group's members at various Miami hotspots, the Winter Music Conference has proved just as barren.But where the rumor mill withers on the vine, the Internet giveth. Daft Punk's forthcoming album has surfaced for presale on iTunes, reports Stereogum. It's called Random Access Memories, and it's due out on May 21. It features 13 tracks, the titles of which have yet to be revealed.

  • Demdike Stare

    Ambient Occultists Demdike Stare Hack into the Jungle on 'Testpressing' Series

    There's a humbly, elegantly generic feel to the sleeve of a vinyl test pressing, which typically says "TEST PRESSING" in bold letters across the top, followed by a brief note from the manufacturing plant instructing the customer — the label putting out the record, that is — to check for imperfections before signing off on the final product. The occult-minded ambient industrialists Demdike Stare pay tribute to that familiar (to label heads and DJs, anyway), minimalist design with the sleeve of the first 12-inch in a new series, appropriately named Testpressing, on Manchester's Modern Love label (home to Andy Stott's acclaimed 2012 album, Luxury Problems).Listeners expecting smoky, ethereal drones along the lines of the duo's 2012 album Elemental may be surprised; Demdike Stare have never sounded ruder.

  • Sunless '97

    Luke Solomon Roughs Up Sunless '97's Plaintive 'Aurora II'

    British trio Sunless '97 describe their double-A-sided single "Aurora I" and "Aurora II" as a mixed message to the dawn: The first song attempts to capture "the euphoric vibes of walking home after a night of dancing, feeling content, at peace and not 'lonely' even though you are walking home alone," while the flip side goes straight to "the darker side of being up all night again and again and not being in such a good place." You'd sure never guess it from Luke Solomon's "Aurora II" remix, though. Leaning hard on tambourines, strobing white noise, and a chunky, sandblasted drum-machine groove, and dubbing out the group's wispy falsetto vocals over an almost subliminally deep bass line, Solomon's rework zaps you straight to a place where tomorrow's daylight feels like a million years away.

  • Anno Stamm

    Hear a Chilling Techno Cut from Anno Stamm, a/k/a Anstam

    Usually, when dubstep tries to be scary, it errs on the side of cartoonish excess. Anstam, on the other hand, makes music that's all the more terrifying for what it keeps hidden. Between 2007 and 2009, the Berlin producer (aka Lars Stöwe) put out three cryptic 12-inches that were less Fright Night than Frankenstein, summoning a nameless dread with little more than shuddering kick drums and the buzz of shorted circuits. Now he applies his gothic sensibilities to techno with the debut EP under his new alias, Anno Stam. Not, like, Bauhaus gothic, but Edgar Allen Poe gothic.

  • Ultra Music Festival's main stage, a day before the collapse / Photo from UMF's Facebook

    Two People Critically Injured After Ultra Music Festival LED Screen Collapse

    Just 24 hours before Miami's Ultra Music Festival was scheduled to open, stage elements collapsed on site, seriously injuring two workers, reports CBS Miami. Miami Fire Department Lieutenant Ignatius Carroll was quoted as saying that the workers' injuries are "life threatening."Ultra Music Festival issued a statement that explained, "Today (Thursday, March 14) as preparations were being made for this weekend’s Ultra Music Festival, a section of an LED screen fell and injured two workers. Fire Rescue was on site so there was a rapid response.

  • Root for the Villain / Photo by Marie Kristiansen

    Carmen Villain, 'Sleeper' (Smalltown Supersound)

    A brisk wind's blowin' in from paradise, and it's got Norwegian singer/songwriter Carmen Villain caught by the wings. She's spun upside-down, turned inside out; she's calling through a kick drum, purring through the wreckage, all tangled up in delay. Braiding strands of '90s indie rock, rumbling post-punk, and ambient crackle and hum, Sleeper is a spellbinding portrait of metamorphosis. Its dreamlike lyrics — fragmentary, sometimes nonsensical, often unintelligible — are shot through with images of stasis and escape, broken animals and beat-up souls. It's dotted with crows, owls, and an "anguished lion," and crisscrossed by lines of flight: figures flying away, train tracks glinting in the moonlight.As much as it's rooted in the elements, her debut album is all tied up in the bondage of buying and selling.

  • 'The Conet Project: Recordings of Shortwave Numbers Stations'

    Irdial Reissues 'The Conet Project,' a Rare Compilation of Cold War-Era Spy Transmissions

    In the annals of non-musical recordings — curiosities like Smithsonian Folkways' Sounds of North American Frogs and the clanging Cable Car Soundscapes — few albums have generated more passionate cult followings than The Conet Project: Recordings of Shortwave Numbers Stations. Originally released in 1997, the four-disc set proffers 150 tracks' worth of bleeps, radiophonic warble, and, principally, recitations of numbers, in multiple languages. If it sounds like the most cryptic thing in the world, that's because it is: The collection represents a massive archive of Cold War-era spy transmissions, which were sent in code over open shortwave signals.Nearly five hours long, it's hardly the kind of thing you're likely to put in your CD changer and listen to all the way through, unless you're given to hosting some really strange dinner parties.

  • The cover of Shawn O'Sullivan's 'Security' EP

    Led Er Est's Shawn O'Sullivan Delivers State-of-the-Art Techno, Brooklyn Style

    The Corner, a fledgling electronic-music label from Brooklyn, keeps things simple. It doesn't do press releases. It doesn't do digital retail. It doesn't even do SoundCloud previews. (The fact that we've got something to listen to here is thanks entirely to Halcyon, the Brooklyn record store that distributes the Corner's releases.)All of that can sound precious, especially in the era of limited-edition, marbled-wax vanity projects, analog fetishism run rampant, and pseudonyms so shadowy they have their own anonymous pseudonyms. But the Corner, run by Anthony Parasole, who also has a hand in Levon Vincent's Deconstruct Music, is a testament to the positive connotations of the term "boutique label." Its record sleeves — just folded sheets of card stock, really — are as tactile as they are visual.

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