First Floor #232 – Things Evolve
a.k.a. An interview with Tim Reaper, plus a round-up of the latest electronic music news and a fresh crop of new track recommendations.
Bandcamp Daily (a.k.a. the editorial arm of Bandcamp) launched its own TikTok channel this week. That isn’t exciting news—in all honesty, they’re probably a bit late to the game—but looking at the official announcement, I did spot something interesting:
None of the three people spearheading this new initiative are music journalists.
Maybe I shouldn’t be surprised by that. But given the degree to which Bandcamp Daily has long marketed itself as one of the few remaining bastions of “real” music journalism, it does seem odd that this new effort would be led by two self-described “content creators” and a third person whose primary stated qualification is “a deep respect and love for resourceful DIY art in all mediums.”
In all honesty, I mean no disrespect to these people, who are all relatively young and appear to be genuinely excited about the work they’re doing and music in general. Talking about music on TikTok and other social media platforms certainly doesn’t require a background in music journalism, or really any level of professional training whatsoever. As jarring as it might be to hear the words “I’m not a music writer” within the first five seconds of the first video on Bandcamp’s new TikTok channel, the influencerization of music journalism has been underway for quite some time. Things have reached a point where certain music festivals are now adding dedicated stages for podcasters and online content creators.
On platforms like TikTok and Instagram, personality is an especially important element of the content being presented, and considering that independent music’s most prominent social media commentators are arguably people like Margeaux and Derrick Gee, who’ve each garnered hundreds of thousands of followers without having extensive writing backgrounds, it seems clear that modern audiences aren’t really basing their viewing choices on the journalistic bona fides of whoever they happen to be watching. If anything, the fact that they aren’t traditional journalists, particularly during a time when society as a whole is often hostile to learned expertise and anyone perceived as a “gatekeeper,” makes these figures seem more relatable.
Bandcamp’s announcement did say that its new TikTok channel will feature “semi-regular appearances from members of Bandcamp’s editorial team and other folks from around the Bandcamp universe,” and who knows, maybe some of those folks will thrive in that space. Most music writers, however, don’t have the skillset, let alone the desire, to make that sort of leap, and during the months and years ahead, it’ll be interesting to see if Bandcamp Daily—and, most likely, other media outlets—wind up posting some deeply awkward content from knowledgeable journalists who nonetheless have no real business getting in front of the camera.
I, thankfully, have not yet had to go down that route, and continue to dedicate myself to the written word, primarily via this very newsletter. Earlier this week, I published an in-depth interview with UK junglist Tim Reaper. You’ll find that below, but I’ll say now that anyone interested in not just his craft, but a panoramic view of contemporary jungle and drum & bass, should give it a read. Otherwise, today’s First Floor digest has the usual assortment of news items, new release announcements and reading links. And while August is generally thought to be something of a dead time for new music, I’ve also compiled a substantial batch of new track recommendations, all of them from releases that dropped during the past week. Plus, I’ve recruited esteemed music and culture journalist Aida Baghernejad to pop in with a special guest recommendation.
Let’s get started.
IN CASE YOU MISSED IT:
Every Tuesday, First Floor publishes a long-form piece that’s exclusively made available to paid newsletter subscribers only. The latest one, which is now (temporarily) open to everyone, is an interview with Tim Reaper, a London artist who next month will be releasing the first-ever jungle album on Hyperdub. Consistently held up as one of the leading lights of “new-school jungle,” he talked about his surprisingly long relationship with the genre, its current place in the wider electronic music sphere and the responsibility that comes with his newly elevated profile.
REAL QUICK
A round-up of the last week’s most interesting electronic music news, plus links to interviews, articles and other things I think are worth sharing.
For those with a hunger for more hand-wringing about the changing nature (some might say disintegration) of music journalism, writer Son Raw has launched a new column for Passion of the Weiss called No Country for Old Men. The first installment focuses on music reviews, tracing how they’ve evolved over the years and questioning their utility in a streaming-dominated landscape. (As it happens, I published a similarly themed essay here in First Floor back in 2021.)
Headed up by Flore, the POLAAR label has been around for 10 years, and despite releasing a steady stream of quality bass and techno hybrids from a diverse crew of artists, the French outpost hasn’t always gotten the attention it deserves. This week, however, it was placed into the spotlight by DJ Mag, who dedicated the latest edition of its label-focused The Sound of mix / interview series to POLAAR. Flore’s DJ mix highlights gems from the imprint’s catalog, while her conversation with journalist Ben Hindle lays out the label’s origin story and how things have developed and grown during the past decade.
Oren Ambarchi is a name that most experimental music fans have likely encountered at some point, even if they aren’t all that familiar with his catalog. The Australian artist has released a staggering number of records over the years, both solo and collaborative, and has also dabbled in a wide range of different sounds. For some, that might make the prospect of engaging with his work seem a little bit daunting, but writer Daniel Dylan Wray has attempted to help, creating a roadmap of sorts—one with multiple entrance points—while surveying Ambarchi’s career in a new feature for Bandcamp Daily.
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.
Following an extended period of relative quiet, Flying Lotus resurfaced last Friday with a new standalone single, “Garmonbozia.” Available now on Warp, the song features the Brainfeeder founder and veteran beatmaker doing something rather unexpected: singing.
The TraTraTrax universe continues to expand, as this week saw the Colombian imprint roll out the second installment of its SPLIT series. Split 2 is available now, and it includes one track each from Aquarian and Hodge.
Experimental Australian duo and cult favorites CS + Kreme have completed a new LP. The Butterfly Drinks the Tears of the Tortoise is the group’s third full-length, and features guest appearances from Japanese cellist Yuki Nakagawa (of KAKUHAN), and Teguh Permana from Indonesian band Tarawangsawelas. Opening track “Corey” has already been shared, and the rest of the album will arrive on September 27 via The Trilogy Tapes.
Axel Boman will soon be returning to Studio Barnhus, the label he’s been running alongside Kornél Kovács and Petter Nordkvist for more than a decade. Space Drag is the name of his forthcoming EP, and before it surfaces on September 20, the perpetually fun-loving Swedish artist has shared a megamix that previews its four tracks.
Back in January, Danish artist Courtesy retired her Kulør imprint and launched a new label called Against Interpretation with a standalone single, “Let the Music Hypnotise You.” She’s now set to return to the label with a new full-length, intimate yell, which will be released on October 24. Ahead of that, she’s shared a first single, “My Dazed Friend,” on which she reunites with vocalist Klō (who also appeared on “Let the Music Hypnotise You.”
Even the biggest fans of Special Guest DJ and Ben Bondy likely have trouble keeping track of their many, many aliases and collaborative endeavors, but that hasn’t stopped them from adding another one to the list. On August 23 (i.e. tomorrow), the two will inaugurate a new moniker, Pulse X, with a two-track release on 3XL called Kiss the Future. No music has been shared yet, but more info can be found here.
NYC experimental outpost 29 Speedway has unveiled plans for its first vinyl release, a compilation called UltraBody that includes tracks from Jake Muir, Flora Yin Wong, James K, Maxwell Sterling and several other artists. It’s due to arrive on September 10, but one track from the record, Nexcyia & mu tate’s “Sans Titre,” has already been made available.
AIDA BAGHERNEJAD HAS BETTER TASTE THAN I DO
First Floor is effectively a one-person operation, but every edition of the Thursday digest cedes a small portion of the spotlight to an artist, writer or other figure from the music world, inviting them to recommend a piece of music. Today’s recommendation comes from Aida Baghernejad, an award-winning music and culture journalist and podcaster whose wide-ranging work touches on everything from giant pop stars to the obscure corners of independent music. (She also talks about food. And film. And politics. Let’s just say that she’s not someone who limits herself to any particular niche of contemporary culture.) Normally based in Berlin, she’s currently spending some time in Los Angeles for a fellowship at the Thomas Mann House, and though she works in both German and English, most of her output is in the former language, appearing in outlets like ZEIT, Der Tagesspiegel and taz. English speakers, however, can check out her newsletter, Recommended Reading, in which she flexes her curatorial prowess on a biweekly-ish basis. When asked to share some of that prowess with First Floor, she at first threatened to share an old-school rave banger from Scooter, but ultimately chose to highlight something that’s both far more recent and significantly less manic.
Keeley Forsyth “Horse” (130701)
If it weren’t for my job, I’d probably just listen to the same old music over and over again. How lucky I am that my work forces me to explore previously unknown artists—and one of them is Keeley Forsyth, an English actor (fans of Happy Valley will recognise her) and experimental artist who creates music so hauntingly beautiful, it almost physically hurts. “Horse,” which earlier this year announced her third album, The Hollow, is probably one of the bleakest, yet most evocative pieces of music I’ve heard this year. Forsyth reimagined a piece from Béla Tarr’s cinematic masterpiece The Turin Horse, which itself is based on the rumour that the whipping of a horse led to Nietzsche’s mental breakdown in 1889. Yeah, there’s a lot to unpack, but despite all the references leading to other heady references, worry not about it being too pretentious. Rather, it is an adequate musical reflection of grief and the darkness of our time, with all its violence, hopelessness and beauty.
NEW THIS WEEK
The following is a selection of my favorite tunes from releases that came out during the past week or so. Click the track titles to hear each song individually, or you can also just head over to this convenient Buy Music Club list if you prefer to listen to them all in one place.
Chuck Johnson “Broken Spectre” (Western Vinyl)
“Twangy” is not a descriptor that gets used very often here in the newsletter, but it’s all but impossible to avoid when a pedal steel guitar is involved. Oakland-based artist Chuck Johnson has been experimenting with instrument for quite some time, and on his new album, Sun Glories, he pushes it way beyond the confines of country music, frequently landing in a zone that’s downright triumphant. That’s especially true on LP closer “Broken Spectre,” a seven-minute epic that opens with a slow-simmering cauldron of beatless ambiance and elastic pedal steel melodies before suddenly taking flight, with Johnson riding a distortion-fueled rocket into the same sort of soaring post-rock grandeur that bands like Mogwai and Explosions in the Sky have made their calling card.
J. Albert “Memo” (Self-released)
One of the best things about J. Albert’s music is that you never really know what it’s going to sound like. Only a month removed from I want to be good so bad, an excellent EP of dub techno and microhouse grooves, the NYC producer has returned with “Memo,” a standalone single that goes nowhere near the dancefloor, and instead sounds something like a Latin-tinged slice of ambient pop. As the title implies, the track prominently features a voice memo from a dear friend, who warmly expresses his love and also explains (in Spanglish) that he has a new girlfriend and wants to get on a video call to tell Albert all about it. Beyond that, there are just some simple guitar loops and a bit of rudimentary percussion, but there’s a bewitching elegance to the simplicity of the songcraft on display. It takes a skilled artist to squeeze maximum emotion from minimal composition, but considering the consistently high quality of his output in recent years, I suppose it’s no longer surprising to hear Albert doing something good, even when it’s something has hasn’t really done before.
Sangre Nueva “Verduras” (Club Romantico)
Versus is a new series from Florentino’s Club Romantico label, one in which the Manchester producer invites “friends and family members [to] come together to deliver three tracks each.” For the inaugural installment, he’s kept things close to home, enlisting Sangra Nueva (a.k.a. his ongoing collaboration with Kelman Duran and DJ Python), but while the EP is credited to the whole group, the reality is that each member of the trio contributed one track each. “Verduras” is a DJ Python cut, and its dreamy dembow slots perfectly into his signature “deep reggaeton” style. Bathed in soft textures and radiating a warm glow, the song is genuinely cozy, to a point where it’s verging on lullaby territory—perhaps “sleep reggaeton” would be a more apt description.
Etelin “The Chemistry of Cobalt” (Beacon Sound)
Within ambient / experimental circles, Alex Cobb is probably best known as the head of the consistently excellent Students of Decay and Soda Gong labels, but his own music should not be overlooked. Etelin is the name the Cincinnati-based artist has been operating under in recent years, and Patio User Manual, the project’s third full-length, is a compelling collection of low-key, quietly buzzing ambient compositions. “The Chemistry of Cobalt” is the best of the bunch, and its delicate melodic loops glide through a pool of soft static and tranquil field recordings. Although the song itself its profoundly inorganic—that distortion and feedback could only come from machines—it retains a natural, almost pastoral beauty, evoking visions of an unkempt field trembling in the wind on a breezy spring morning.
Celer + Forest Management “Embera” (Constellation Tastu)
An intercontinental collaboration between two of ambient music’s most underrated talents, Celer + Forest Management’s Landmarks was first released in 2018, but it’s now been newly remastered, reissued and pressed onto vinyl for the first time. Inspired by The Mosquito Coast, a novel and film in which a family moves to Central America to escape the rampant consumerism of life in the United States (spoiler alert: it doesn’t go well), the album is meditative, spacious and infused with a subtle strain of exotica, invoking both the seeming promise and lurking danger of faraway, unknown lands. “Embera,” one of the LP’s obvious standouts, takes an almost symphonic approach, employing robust orchestral loops that seem designed to provoke a sense of wonder—the same sort of wonder one feels when taking in an epic landscape or coming upon a majestic new environment for the first time. That sense might very well be masking any number of hazards, both known and unknown, but the surge of excitement it provides is thrilling all the same.
Veryan “Part Wild Horses Mane” (quiet details)
Sitting somewhere between Tycho and Tangerine Dream, “Part Wild Horses Mane” is a hypnotic highlight of One Universal Breath, the new album from Scotland-based artist Veryan. The synthesis-driven LP is inspired by her practice of tai chi—and one specific memory in which she was sitting in a park in Paris following the death of her father, and spotted a lone woman doing tai chi—and while that perhaps explains the music’s graceful calm, the songs themselves feel far less tied to earthly pursuits. Taking in the contemplative loops and weightless drift of “Part Wild Horses Mane,” one imagines a group of astronauts peering out the window of a space station, marveling at the contours of the planet as they orbit around the Earth.
Scuba “Sorry (Digital Underground)” (Hotflush)
Paul Rose has more than 20 years of releases under his belt, but his new D:U:2 mixtape might be the most objectively fun thing he’s ever released. A sequel to last year’s Digital Underground, it’s rooted in the sounds of early-’90s hardcore, but while that first installment (which was also quite good) felt more like a straight-up revival, D:U:2 playfully tweaks the formula, at times employing elements one might expect to hear in a PC Music or Two Shell record. “Sorry (Digital Underground)” is one of the mixtape’s many highlights, and its soulful diva and vamping piano riffs will instantly be familiar to even the most casual of ravers, but the Hotflush boss compresses that classic formula into a relatively bite-sized tune—one that also has some seriously sticky pop hooks. It’s funny to think about TikTokers potentially going nuts to a Scuba track, but “Sorry (Digital Underground)” has more than enough adrenaline to keep the terminally online not just entertained, but giddily smiling.
AshTreJinkins “RANDOM TXT” (Self-released)
Who is AshTreJinkins, and what kind of music does he make? Considering that his catalog dates back more than a decade (and includes outings on esteemed labels like Apron, Leaving and Schematic), the answer to that question shouldn’t be all that elusive. Yet the Californian producer tends to keep a low profile, constantly switching up his style while speaking loudest via his Bandcamp page. There you’ll find dozens of self-released EPs, which run the gamut between scuzzy, lo-fi beats and gritty soundscapes to avant-garde takes on house and techno. Those looking to make a comparison might point to someone like Actress, but even that is a stretch, especially now that AshTreJinkins has offered up Project: Space Haunt Vol.1, a collection of sleek, sci-fi techno cuts that sounds like a long-lost record from ’90s Detroit, or maybe something that an artist like Matrixxman would have put together. With its industrial-strength gallop, “RANDOM TXT” is the strongest track on the EP, or at least the most muscular one, though its lively array of shimmering bleeps and bloops ensures that things never get too gloomy.
That brings us to the end of today’s First Floor digest. Thank you so much for reading the newsletter, and, as always, I do hope that you enjoyed the tunes. (Don’t forget, you can find them all on this handy Buy Music Club list, and if you like them, please buy them.)
Have a great week,
Shawn
Shawn Reynaldo is a freelance writer, editor, presenter and project manager. Find him on LinkedIn and Twitter, or you can just drop him an email to get in touch about projects, collaborations or potential work opportunities.