First Floor #302 – The Murderous Elephant in the Room
Reckoning with an international bully, plus an interview with Mammo, a round-up of the latest electronic music news and a fresh slate of recommended new releases.
Honest question: Is it time to start boycotting the US?
I’m not trying to be cute here, and I realize the irony of me, an American, saying this. But in a time where the creative sphere—and electronic music in particular—has become more and more comfortable with speaking out and (occasionally) backing up those words with concrete action, why isn’t a bigger effort being made to actively shun a country that’s clearly the most aggressive and virulent actor on the global stage? Most artists these days wouldn’t take a gig in Israel or Russia, and those that do are subject to torrents of criticism from their peers and strangers alike. And yet, when a DJ posts a smiley photo on Instagram announcing their upcoming US tour dates, they’re greeted with heart emojis and words of congratulations.
Why? Because the US is still ostensibly a democracy? Because those Americans who don’t support their government’s actions are still allowed to express their dismay online? None of that dismay negates the government’s laundry list of bad behavior, or its active disregard for international law. In the past few months alone, the US, without provocation, has decapitated the Venezuelan regime and launched a war against Iran (in tandem with Israel, no less), and it’s already set its sights on Cuba as well, working to starve the country into submission by cutting off its oil supply.
I could go on, but I’m guessing that most First Floor readers are not only aware of what the US is up to, but are also opposed to it. Much of what’s happening isn’t even popular among the actual American populace, and elsewhere in the world, the US is increasingly viewed as an unstable mess, an unreliable ally and an increasingly dangerous bully. Given that, it’s bizarre that artists of all stripes—especially the ones who’ve been outspoke about a myriad of other political issues—don’t even seem to be considering the possibility of cutting ties with a country whose government they most likely loathe.
Admittedly, a full-on boycott of the US would be all but impossible to execute, especially when the vast majority of streaming and social platforms are owned by American companies. Smaller measures, however, are far more doable. How about simply refusing to travel to and perform in the US? As big as the American market may be, it’s well documented that touring in the US is rarely a lucrative proposition, especially for independent artists. Add in the skyrocketing costs of obtaining an American work visa, and most electronic and experimental acts are lucky to break even on a US tour, which essentially makes going there a very expensive exercise in self-promotion. In more “normal” circumstances, perhaps that would be worth it, but when the US is deliberately sowing chaos and undermining the international order, the moral math really ought to change. Is that gig at Nowadays or that Instagram pic in front of an LA taco truck really necessary when the American government is invading and bombing multiple countries?
I’m not delusional enough to think that an artist boycott—especially one initiated by DJs—is going to have any tangible effect on the US or its government’s reckless behavior. But considering the degree to which the electronic music realm repeatedly markets itself as a progressive, socially conscious force for good, its flaccid response to this latest wave of American aggression and authoritarianism is yet another example of how empty that rhetoric often is.
And on that optimistic note, let’s get into today’s First Floor digest, shall we? I can’t deny that anything having to do with electronic music seems pretty inconsequential in the face of yet another needless war in the Middle East, but I am nonetheless pretty excited about the interview with Mammo I published earlier this week. If you’re not yet familiar with his vaporous sounds, you should be, and after years of quietly releasing records (under a myriad of different names) and lingering in the shadows, he agreed to talk to me. Our conversation went deep, discussing his family, his upbringing, his musical evolution, his production methods and lots more, including why he spent so long choosing not to talk to journalists like me.
You’ll find a link to that interview below—and yes, the paywall is currently down—and beyond that, you’ll find the usual round-up of what’s been happening in the world of electronic music. Inside are news items, new release announcements, suggested reading links, recommended new releases … you probably know the drill by now, and today’s edition has more than enough to keep you busy in the days to come.
Let’s get started.
IN CASE YOU MISSED IT:
Every week, First Floor publishes a long-form piece that’s initially made available to paid subscribers only. But if you’re not part of the paid tier, now’s your chance to see what you missed! The latest piece is now open to everyone, and it’s an interview with Mammo, an artist who’s previously shied away talking about himself or engaging in self-promotion. Considering the strength of the records he’s released, letting the music do the talking wasn’t necessarily a bad idea, but with a new album coming out next week on the Short Span label, he finally decided to lift the curtain and let people have a look at what he’s all about.
WHAT’S BEEN HAPPENING
A round-up of the most interesting electronic music news from the past week, plus links to interviews, articles and other things I think are worth sharing.
If you read one article this week, make it Ed Gillett’s investigation of the viral pop-up rave phenomenon, which has swelled in popularity in the post-pandemic era—and, crucially, has attracted millions of dollars from brand sponsors. Published by Resident Advisor, the article includes observations from a variety of sources, including Gillett himself, who attended a pop-up event in December and provides a first-hand account of the experience, saying, “It felt less like being at a party, and more like being on a film set, a background extra in a movie about raving.” Yet the most illuminating / eyebrow-raising quotes come from Joe Gordon, the 25 year-old CEO of UK-based pop-up rave promoter Lab54, who casually states, “I'm not here to try and make an underground scene or a really tight-knit community. I’m here to run a business, and build a global events, marketing, content and media brand.”
Industry is one of the hottest shows on television, and Nathan Micay is the artist responsible for its arresting score. First Floor readers know this—the Canadian producer was actually interviewed here in the newsletter about the gig all the way back in 2020, when Industry was a brand-new show—but those wanting an update should check out this new feature that Kiana Mickles penned for Pitchfork, which specifically focuses on how Micay adjusted his approach (and enlisted a bit of help from artists like Aquarian and Tory Letzler) to capture the latest season’s dramatic swings and darker mood.
Having remarked countless times that John Beltran is arguably the most underrated and overlooked artists in the history of Detroit techno, I was very pleased to see the veteran producer—who, technically speaking, is from Ann Arbor, Michigan—be interviewed by Tone Glow’s Joshua Minsoo Kim. Their conversation dives into Beltran’s backstory, which includes youthful forays into breakdancing and a lot of time spent at warehouse parties, and also touches on his various aliases, including Placid Angeles and Sol Set.
Speaking of Ann Arbor, that city was also the birthplace of Ghostly International, which was profiled this week in the latest installment of DJ Mag’s The Sound of feature / mix series. Written by Michael McKinney, the article traces the label’s history and evolution with a helping hand from founder Sam Valenti IV. Accompanying the piece is an exclusive mix from longtime Ghostly affiliate Michna, who pulls from the label’s extensive catalog (and that of its sister imprint, Spectral Sound).
Fans of electronic, experimental and avant-garde music are often familiar with a wider range of instruments than the average listener, but I’d wager that only a handful of them have even heard of the ondes Martenot. Invented in 1928, it’s a keyboard-based instrument that’s something of a cousin to the theremin, and it’s the focus of a new article that George Grella put together for Bandcamp Daily. As he explains, the ondes Martenot has found the widest acceptance among modern French composers, and his piece zeroes in on the work of Christine Ott, highlighting several standout works from her decades-deep catalog.
OBLIGATORY BOOK MENTION
My first book is out now. It’s called First Floor Vol. 1: Reflections on Electronic Music Culture, and you can order it from my publisher Velocity Press. However, if you’re outside of the UK, I recommend that you either inquire at your favorite local bookshop or try one of the online sales links that have been compiled here.
JUST ANNOUNCED
A round-up of noteworthy new and upcoming releases announced during the past week.
Octo Octa has a new album on the way, one that’s specifically meant to mark the decade that’s passed since she first came out as transgender. Described as an “attempt to encapsulate the intentions and techniques that [she] used to move through life into a spell,” the forthcoming LP is called Sigils for Survival, and though it’s slated to drop on April 30 via the T4T LUV NRG label she runs alongside Eris Drew, one track from the record, “Survival Groove,” has already been shared.
Although Seefeel have technically been “back” for a few years now, the beloved UK outfit haven’t released a full-length since 2011. That streak, however, will soon be ending, as the group this week unveiled a new LP, Sol.Hz, that Warp is already billing as “Seefeel’s ‘dub’ album.” May 1 is the official release date, but the song “Ever No Way” is available now.
Loraine James has completed a new album, one that the London artist says was born out of a desire for change. While stripping back her production and using her voice more prominently than before, James also enlisted guest contributions from Low’s Alan Sparhawk, Tirzah, Miho Hatori, Sydney Spann, Anysia Kym, Le3 bLACK and Fyn Dobson. The end result—which she’s titled Detached from the Rest of You—is something she’s half-jokingly describing as her “IDM popstar album.” The full LP lands on May 8, but first single “In a Rut” is out now.
After many years spent in Berlin and London, Carla dal Forno at some point returned to her native Australia, where she now lives in a small country town. It was there that she made her freshly announced new full-length, Confession, which she apparently recorded inside a partially abandoned hospital. Billed as an “album of quiet upheaval,” it’s scheduled to arrive on April 24 via dal Forno’s own Kallista imprint, though opening track “Going Out” has already been shared.
Does any working electronic music artist maintain more aliases than Legowelt? And are any other producers of his stature as steadfastly committed to offering up all of their music for free? Last week, the synth-loving Dutch eccentric returned to his long-running Smackos moniker and dropped a full-length that he says is full of “synthetic hardcore ambient synth folk ballads.” Entitled Come for the Universe Stay for the Clowns, it’s out now on his own Nightwind label, and is available as a name-your-price download on Bandcamp.
The music of LA-based ambient artist marine eyes has been featured many times here in the newsletter, along with occasional mentions of cloud collecting, a newsletter in which she publishes short interviews with women and gender-expansive artists. This week, cloud collecting is expanding its reach, as marine eyes has teamed up with Anita Tatlow, a fellow artist and a founder of the Echoes Blue label, to curate gentle voices, vol. 1, a compilation featuring 10 collaborative tracks by female artists from around the globe. Contributors include Karen Vogt, IKSRE, Jolanda Moletta, Drum & Lace and numerous others, and the album will surface on March 6 (i.e. tomorrow), just in time for International Women’s Day on March 8. Ahead of that, a couple tracks from the compilation have already been shared here.
RECOMMENDED RELEASES
The following is a summary of First Floor’s favorite new releases that came out during the past week. Each one has been published with a brief excerpt of the accompanying write-up; to view the full text (and hear the actual music) for an individual release, click the “Listen + Read More” link, or you can also just head over to this convenient Buy Music Club list if you prefer to listen to all of the selections in one place.
Vic Bang – Oda (Mondoj)
… Barca has a taste for small sonic details—Oda is littered with bits of sliced and diced saxophone, guitar, cello and synth—but the way those sounds combine and morph across her tracks reflects a desire to go beyond the limits of traditional composition. [LISTEN + READ MORE]
Brendon Moeller – Sprawl Circuitry (Delsin)
… Taken on its own, the record would be a show-stopping effort from any producer, but coming from Moeller, it’s just more proof of what rude health his creativity is in these days. [LISTEN + READ MORE]
Der Zyklus – Truth Matrix (Clone Aqualung Series)
… “Truth Matrix” still sounds like Der Zyklus (or Dopplereffekt, or Drexciya); it just unfolds in a somewhat more linear fashion, calmly strutting across the dancefloor with the poise (and the subtly sullen scowl) of a high-end runway model. [LISTEN + READ MORE]
Sam Goku – Yulun (Paryìa)
… Propulsive yet ethereal, the EP indulges in a mesmerizing strain of drum-heavy prog, swaddling its percussive pulse in hazy textures and dotting the landscape with reverb-kissed accoutrements. [LISTEN + READ MORE]
Move D – Beyond the Rave (Self-released)
… Beyond the Rave is stuffed with leisurely house tunes—“Эрмитаж” and “The Incorrigible Heartthrob” are some of the standouts in that category—but Move D cooly glides between genres, maintaining the album’s patient energy and subtly soulful sensibility as he changes up the tempo or tries out different drum patterns. [LISTEN + READ MORE]
styn – BLUPRNT (Nachtwinkel)
… The LP pilots an unhinged course through the hardcore continuum, tossing elements of dubstep, kuduro, bubbling, footwork and other bass-heavy sounds into a meat grinder—and then forming the resulting slurry into 12 patties of high-energy club heat. [LISTEN + READ MORE]
Caterina Barbieri & Bendik Giske – At Source (light-years)
… These avant-garde composers don’t just play together; they engage in a kind of darkly hypnotic dance, with Barbieri’s twinkling arpeggios and Giske’s brassy tones constantly dipping and darting around each other like children engaged in a carefree game of tag. [LISTEN + READ MORE]
That brings us to the end of today’s First Floor digest. Thank you so much for reading the newsletter, and remember, you can find all of this week’s recommended releases on this handy Buy Music Club list. (If you like them, please buy them.)
Until next time,
Shawn
First Floor is published and overseen by Shawn Reynaldo, a freelance writer, editor, presenter and project manager. Find him on LinkedIn and Instagram—and make sure to follow First Floor on Instagram as well—or you can just drop Shawn an email to get in touch about projects, collaborations or other potential opportunities.