Philip Sherburne



  • Maya Jane Coles / Photo by Thomas Knights

    Hear Maya Jane Coles' Sumptuous 'Easier to Hide' EP

    The British producer and DJ Maya Jane Coles is on a tear, and what's striking is how sustained her ascendance has been. Her 2010 single "What They Say" was one of that year's biggest deep-house anthems, which led to a packed 2011 calendar of gigs at venues like Space Ibiza, London's Fabric, and Berlin's Panorama Bar. And this year, on the strength of her focused-but-eclectic style of DJing and a wide-ranging mix CD for K7's DJ-Kicks series, she became one of the few representatives of British and European underground to get booked at American EDM mega-fests like Miami's Ultra. The secret to her success is simple: She's got a unique sound, carefully poised between deep house and low-key electronic pop, and she's a formidable presence on the decks.

  • Blackbird Blackbird / Photo by Micah Weiss

    Hear Grenier's Blissful Remix of Blackbird Blackbird's 'It's a War'

    Never mind what Muse or Taylor Swift may do; you can bet that Morrissey will never, ever go dubstep. Given that, it's only fitting that San Francisco's Blackbird Blackbird (Mikey Maramag) and Grenier (Dean J. Grenier, a.k.a.

  • Bot'Ox / Photo by Philippe Lebruman

    Download Pachanga Boys' Remix of Bot'Ox's Creepy 'Basement Love'

    Chances are a song called "Basement Love" would never sound especially wholesome, but Bot'Ox render the idea especially louche on their new single, a creepy-but-tender fusion of witch house, space disco, and Chris Issak-inspired soft rock. Philadelphia singer the Foremost Poets (a.k.a. jOHNNYDANGEROUs, the artist behind the 1992 Chicago house hit "Problem #13," better known for its refrain, "Beat that bitch with a bat") sounds as seductively seedy as the voyeur/narrator from Calvin Klein's short-lived 1995 ad campaign paying tribute to teenagers in rec rooms. Leave it to Pachanga Boys — the duo of Superpitcher and Cómeme's Rebolledo — to translate "Basement Love" from the split-level to the underground bunker.Stretching out the song into a 12-minute epic, they play up both the horrorcore and the heavy breathing, resulting in the most sinister kind of dance-floor apotheosis.

  • Tim Hecker & Daniel Lopatin, 'Instrumental Tourist' (Software)

    When Daniel Lopatin (a.k.a., Oneohtrix Point Never) and Tim Hecker performed together at this year's Unsound Festival in Krakow, it seemed like they might bring the house down — literally. Facing each other across their laptops in the apse of St. Catherine's Church, they sounded placid enough at first, filigreeing sampled pipe-organ drones with filaments of synthesizer and a rosy, staticky glow that wafted dreamily through the marble arches. But once the duo got rolling, letting loose with an overwhelming chug that pulsed like a hungry black hole, it felt like sitting inside an ocean liner's engine room instead of a 16th-century church. It was, apparently, too much for the priest on duty, who frostily told festival organizers that this would be the last show they ever put on in St. Catherine's.

  • Cajual's Johnny Fiasco / Photo by Bob Hansen

    Hear Johnny Fiasco's Soulful, Seriously Twisted House Mix for Cajual Records

    Despite electronic music's ostensibly futurist bent, house music in 2012 sounds overwhelmingly like 1992 all over again: All tracky drum grooves, stabbing pianos, and staccato bass lines, with the odd wailing diva thrown in for good measure. That's hardly a bad thing — if it ain't broke, etc. — but the most encouraging side effect of house music's current retro fixation has been the way that it has helped to shine a spotlight on some of the genre's pioneers.Enter Chicago's Curtis Jones, better known under his aliases Cajmere and Green Velvet. House music was already deeply ingrained in Chicago by the time that Jones started making music in 1990, with just a drum machine, a Yamaha synthesizer, and a Tascam 4-track recorder.

  • Seth Troxler / Photo by Yonathan

    Hear Seth Troxler's Twisted Remix of Matthew Dear's 'Fighting Is Futile'

    Seth Troxler has been quiet on the production front lately, and no wonder. As Resident Advisor's Will Lynch chronicled after this year's WMC, the rising DJ keeps a schedule that could cripple all but the most seasoned road warriors. But Troxler recently found time out from his seemingly endless succession of gigs and after-parties (including a stretch of Richie Hawtin's "CNTRL: Beyond EDM" bus tour) to turn out a striking remix of Matthew Dear's "Fighting Is Futile," the latest single from Dear's album Beams."It's funny how the remix happened," Troxler told SPIN in an e-mail. "Matt and crew asked if I were up for it, [and] it had been ages since I worked on anything alone, since I'm always on the road and don't have a studio. Then Matt sent me the parts.

  • Keith Flint of The Prodigy performing live at the Glastonbury Music Festival in 1997 / Photo by Martyn Goodacre/Photoshot/Getty

    The Prodigy's 'The Fat of the Land' Gets Reissued, Remixed

    It might be hard to believe, but it's been 15 years since the Prodigy smacked their way onto the American scene with The Fat of the Land, which debuted at No. 1 on the Billboard Top 200 and promptly turned pop culture upside down. (As SPIN's September 1997 cover story on the group noted, Helena Christensen, Cameron Diaz, Bono, Chris Rock, Diddy, and even Jerry Seinfeld all turned up at the after-party for the group's New York show.) Long before American promoters reconfigured "EDM" for the American festival landscape, the Prodigy brought breakbeats to the rock-club circuit, sowing the seeds for this decade's explosion of 'roid-raging rave. If you want to know how we got where we are today, thank/blame Liam Howlett and his band of not-so-merry pranksters: As Skrillex told me when I interviewed him for SPIN last year, "One of my first albums was The Fat of the Land.

  • Eaux

    Hear Eaux's Darkly Dramatic Debut EP, 'i'

    As part of the Sian Alice Group, Sian Ahern and Ben Crook made winsome indie rock that nodded to Galaxie 500, Low, and the Dirty Three. There's still a touch of American gothic to their new trio, Eaux, with Stephen Warrington, as well as the teensiest hint of actual gothic. (Between Ahern's airy soprano and the group's darkly ethereal atmospheres, it's tempting to think they took their name in homage to the Cocteau Twins.) But the balance has shifted decidedly away from strummy pastoralism towards programmed rhythms, velvety flourishes of synthesizer, and anxious clang.The trio's debut EP, i, came together in a few days in London's Tin Room studio, beginning as group improvisations and gradually taking shape. Despite the copious electronic touches, however, the music retains a distinctly live feel, stripped-down and in flux.

  • Emeralds, 'Just to Feel Anything' (Editions Mego)

    Emeralds started out in the Midwestern noise scene as mushroom-chomping, drone-obsessed electronic improvisers with a yen for murk. Beginning in 2006, they released dozens of awesome, but admittedly kind of interchangeable tapes and CDRs like Dirt Weed Diaries Vol. 1, Grass Ceiling, and the tellingly (if, presumably, ironically) titled Bullshit Boring Drone Band.Then, in 2009, with a self-titled album for Wagon and the better-known What Happened for No Fun Productions, their music made a subtle but significant shift to something both more complex and recognizable; for the first time, they turned out jams you could actually Shazam successfully, meaning the app didn't just point you to something like Spooky Halloween Atmospheres, Volume Three.

  • Disclosure / Photo by Phil Sharp

    Hear Hot Natured, T. Williams Remix Disclosure's 'Latch'

    Numbers come up a lot when discussing London's Disclosure — specifically, 18 and 21, the current ages of the two brothers, Howard and Guy Lawrence, who form the duo. Then there's 2000 — the year that U.K. garage (the style that has informed much of their music so far) hit its commercial and creative apex. Now, though, as Disclosure reach the end of their breakout year, a few new figures are creeping into the equation. There's 6/8, the time signature they used for their wildly successful recent single, "Latch," and 584,553 and 1,545,966 — the number of plays that the song has gotten on SoundCloud and YouTube, respectively. (As I write this, anyway; they're climbing fast.) Finally, and most tellingly, there's 11 — the single's peak, so far, in the U.K. charts.That last number is kind of a big deal.

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