First Floor #243 – If an Album Gets Released and No One Writes About It, Does It Make a Sound?
a.k.a. Disappearing reviews in a time of musical abundance, plus a round-up of the latest electronic music news and a fresh bundle of new track recommendations.
In the track recommendations section of today’s First Floor digest, I’ve put together write-ups about 14 different new electronic music releases, of all which came out during the past week. That’s not necessarily a lot, and I’m by no means congratulating myself, but that number does significantly outpace what’s happening at many of the most prominent music publications.
Pitchfork, for instance, ran 15 electronic / experimental album reviews during the entire month of October, and Resident Advisor—an outlet solely dedicated to electronic music—published only 14 that same month. Considering that reviews are one of the few ways that these sites still cover new releases, particularly when they’re coming from independent and low-profile artists and labels, it does seem that the professional music press is failing to provide even a semi-complete picture of what’s currently happening in electronic music. (For what it’s worth, the same could likely be said for almost any genre.)
I took a much closer look at the scope of that failure in an essay I published earlier this week. You’ll find that below—and yes, the paywall is now (temporarily) down—but it should be noted that this isn’t a simple case of the press not doing its job. (In an era where many publications’ priorities now revolve around the creation of content that will provoke reader clicks, social media engagement and brand sponsorships, one might even say that the journalists at these places are doing the exact job they’ve been assigned.)
Over the past week, an eye-catching quote from Will Page, the former Chief Economist of Spotify, has being doing the rounds, as he told Music Radar that, “More music is being released today (in a single day) than was released in the calendar year of 1989.” With more than 100,000 songs being uploaded to streaming services every single day, not even the best-resourced publications could realistically hope to keep tabs on the whole of what’s going on. And while I wouldn’t say that there too much music being released these days—what does “too much” even mean?—I will say that the amount of music being released far exceeds the processing capacity of the traditional music industry and the larger ecosystem that surrounds it. Magazines, websites, radio stations, labels, playlist curators, concert bookers, managers, booking agents, publicists, even casual fans … they’re all struggling with some form of overload, and a lot of quality music is falling by the wayside as a result, right along with many of the artists who create that music.
First Floor can’t change that, no matter how many new artists and releases I write about. That’s frustrating, and while I have occasionally thought about abandoning reviews and recommendations—going through new releases each week is by far the most time-consuming part of the newsletter—the prospect of doing so feels like an abdication of one of my key responsibilities as a music journalist. At its core, pointing people towards the good stuff is what this job is supposed to be about, and looking at the number of people who read First Floor each week, it does seem that there are at least some people out there who still have an appetite for that sort of guidance.
For now, that’s enough for me to keep going.
Anyways, read on to find those recommendations I mentioned, along with an additional guest recommendation from Swedish experimental artist Klara Lewis. Beyond that, there are news items, new release announcements and reading links too, so you’ll have more than enough material to keep you busy in the days ahead.
Let’s get into it.
IN CASE YOU MISSED IT:
Every Tuesday, First Floor publishes a long-form piece that’s initially made available to paid newsletter 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 (temporarily) open to everyone, and it’s an essay about the dwindling number of reviews in music publications, which also seem to be dedicating less and less of their coverage to new, independent and lower-profile artists. It also looks at whether other types of media outlets (e.g. radio, podcasts, etc.) are picking up the slack, and questions how those looking to build a career, or even a modest following, can potentially find their way into the cultural conversation.
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.
Considering the widespread popularity of DJing these days, it’s odd how few artists—or, more accurately, successful artists—have truly jaw-dropping skills behind the decks. Djrum, however, is very much the real deal, and he’s the subject of Resident Advisor’s latest The Art of DJing feature. Written by Oli Warwick, the article includes an interview with the UK artist, who shares numerous insights—both technical and philosophical—about his approach to the craft, and the piece is accompanied by a video in which he demonstrates a few of his tips and tricks for multi-deck vinyl mixing.
In a moderately grumpy new essay for The New York Times Magazine, writer Peter C. Barker takes issue with the growing reliance on nostalgia in the live music sector, specifically pointing toward the growth of tours in which bands play their most seminal / acclaimed / popular album. He also points out the many ways that the monetization of nostalgia runs counter to what function art and music are supposed to serve in the first place.
First Floor is admittedly in severe danger of overloading its readers with Tim Reaper content, but the London junglist—who, yes, was interviewed here in the newsletter a few months ago—recently took part in a conversation with SHERELLE as part of a new Crack magazine feature. Moderated by Isaac Muk, their exchange touches on the historical trajectory of jungle and the current hype around the genre, and explores how they are both dealing with being tabbed as leaders of the genre’s new generation.
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.
Marie Davidson has been laying the groundwork for a new album for months now, and this week the Montreal artist finally unveiled some substantial details about the forthcoming LP. Entitled City of Clowns, it was made in collaboration with Soulwax and Pierre Guerineau, and it will be released via Soulwax’s DEEWEE label on February 28. Several tracks from the record are already available here, including new single “Sexy Clown,” which surfaced yesterday along with its accompanying music video.
First Floor rarely gives much attention to reissues—especially the ones that feel like blatant cash grabs—but the news that Ghostly International will soon be reissuing West Coast, the 2009 debut album from Swedish duo Studio (a.k.a. Dan Lissvik and Rasmus Hägg), is very welcome indeed. Beloved at the time of its initial release, the Balearic / dub / kosmische / pop record all but disappeared in the years that followed, and will now be given new life when the reissue appears on January 24. In the meantime, Ghostly has already shared LP track “Origin.”
German artist René Pawlowitz (a.k.a. Shed and many other monikers) has released a new record from his Head High alias. It’s called 2nd-Hand Bassline, and it’s out now on his own Power House imprint.
After debuting last year with the underappreciated Suono Assente album, V/Z (a.k.a. the post-punk- and dub-leaning duo of Valentina Magaletti and Zongamin) have completed a follow-up. It's Cold in Baltimore will be issued by Vladimir Ivkovic’s Offen label on December 15, but LP cut “An IKEA Moment” has already been shared.
Born out of a residency at the Swiss Museum for Electronic Music Instruments (SMEM), Music from a Room Full of Synths is the upcoming LP from Dorian Concept. Entirely recorded, mixed, and edited at SMEM, the music was all played live, which the Vienna-based artist believes is responsible for the record’s “roughness.” Album track “Cuchaule” is available now, and the full release is slated to drop on December 6 via the -OUS label.
Released by the Numbers label back in March, Hekt’s Lens LP was one of this year’s colorful electronic gems, and now the Danish multimedia artist has delivered an unexpected follow-up: a self-released cover of Ben Klock’s 2009 techno anthem “Subzero.” It’s out now.
Swedish techno duo SHXCXCHCXSH have signed on with Northern Electronics for their next album, which is enigmatically titled ......t. It’s scheduled to arrive on November 22 (i.e. tomorrow), though several tracks from from LP are already streaming here, and more details about the record can be found here.
With Valencia still reeling from the catastrophic flooding that hit the coastal Spanish region, two new benefit compilations have surfaced this week:
UK label Ransom Note joined forces with Spanish artists Orion Agassi and Luishock to assemble Amor i Ritme, which contains tracks from Hercules & Love Affair, Phran, Bawrut, GAZZI and a litany of other (mostly Spanish) producers.
Spanish outpost Sungate released Healing Rays, which features contributions from Skudge, oma totem, Arkajo, Iro Aka, Markus Suckut and several other artists.
KLARA LEWIS 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 Klara Lewis, a Swedish composer and experimental artist who’s released the bulk of her catalog via the vaunted Editions Mego imprint. Her latest solo outing, Thankful, is a tribute to the label’s late founder, Peter Rehberg, who she describes as a friend and mentor. Lewis is also an avid collaborator, and has previously made music in tandem with artists like Peder Mannerfelt, Simon Fisher Turner, Yuki Tsuji and Nik Colk Void. (Her 2023 album with the latter, Full-On, was particularly good.) Here, she keeps her words brief, and while the track she’s shared comes from a well-known, widely respected artist, it’s an obscure gem that I’m guessing most readers missed when it was first released.
Matthew Herbert “November (Micachu Remix)” (Accidental)
It makes the end of the night turn into the beginning. It reminds me that there is no need to categorise or label anything. I don’t know what it is and it’s its own thing and I love it and it gives me lust for life.
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.
Soul Mass Transit System “Original Danger” (ec2a)
Of all the speed garage revivalists who’ve been serving up shuffling bangers during the past few years, Soul Mass Transit System is easily one of the most reliable. “Original Danger,” which opens the UK producer’s new GSC003 EP, is a gregarious romp, and it’s also positively huge, in the sense that it’s not hard to imagine the song’s bulbous bounce and cartoonish dancehall-isms blasting out of the soundsystem at a packed-to-the-gills football match. As fun as tracks like Double 99’s “Ripgroove” and Groove Armada’s “Superstylin’” are, they’ve have had their time, and “Original Danger” seems like the perfect candidate to freshen up any jock jams playlist.
Ruvs “Deuxschlag” (Blueberry)
During the uncertain days of the pandemic FaltyDL was one of the many artists who started their own mentorship program, and it was through that program that he connected with Ruvs, a Nashville duo who share his enthusiasm for blurring—and, at times, flat-out ignoring—genre boundaries. Last week, he released the pair’s first official EP, Schlagzeug, via his Blueberry imprint, and the standout “Deuxschlag” showcases their muscular update on Italo, the song’s chunky groove sounding like something Giorgio Moroder would have made for the Ed Banger label. Add in the track’s pitchy, alarm-like synth melody, and the Ruvs boys have cooked up something that’s enticingly quirky, highly danceable and confidently cool.
TÉNÈBRE “FFT” (YUKU)
Basic Shapes, the latest EP from TÉNÈBRE, doesn’t arrive with any sort of grand narrative. It does, however, have a very specific objective: to celebrate the legacy of Serum, a software wavetable synthesizer that the French techno alchemist credits with shaping the sound of the past decade. In his hands, that translates to a collection of five jagged, sound design-intensive productions. The jittery “FFT” is the best of the bunch, and its serrated tones, growling outbursts and static-laden pulse coalesce into a track that’s both moderately terrifying and an undeniable rave-up.
Dj Fucci & Jensen Interceptor “Pistolón” (N.A.A.F.I)
Anyone who follows Jensen Interceptor’s International Chrome label has likely noticed that the Australian electro fiend has spent a fair bit of time interfacing with Latin American sounds during the past few years. Back in January, he released the SUPER PESO EP from Mexico City’s Dj Fucci, but as it turns out, the two of them also had a collaborative effort in the works. El Infierno arrived last week on N.A.A.F.I, and while its title track gleefully taps into the loopy hysteria that characterized early tribal guarachero, it’s the record’s closing number, “Pistolón,” that hits hardest. A barreling techno hybrid with a plinky melody that owes far more to the Caribbean than Detroit, the song—and its bubbly rhythm in particular—recall the genre-melding sensibilities of acts like Nguzunguzu.
Esa & Narch “Gas (Lurka remix)” (TraTraTrax)
LWS “Gum Seleks” (TraTraTrax)
Luca Durán & Atrice “Hoasca” (TraTraTrax)
As a general rule, label compilations are… not that great. That’s not necessarily the fault of label owners, who surely want their compilations to be good, but in an electronic music ecosystem that’s increasingly marked by individualism and careerism, it must be hard to convince artists to offer up their best material for a release on which their name doesn’t receive top billing. TraTraTrax, however, doesn’t seem to have this problem. The intense hype that’s surrounded the Colombian outpost in recent years undoubtedly helps with that, but listening to the new no pare, sigue sigue 3 compilation, it also seems clear that they insisted on an “all killer, no filler” approach to curation.
Although the record includes contributions from 3Phaz, De Grandi, Coffintexts and a handful of other bass-loving producers from around the globe, no pare, sigue sigue 3 isn’t exactly a star-studded affair. The quality of the tunes clearly took precedence over the inclusion of headliner-level names, and given the glut of potent dancefloor shellers on the tracklist, it’s difficult to select favorites. The Lurka remix of Esa & Narch’s “Gas,” however, does make for an especially strong its opener, the song’s industrial-grade dembow connecting the dots between Sheffield and San Juan. Similarly ominous are the buzzing tones of LWS’ anthemic “Gum Seleks,” though the UK producer dials down the menace by constructing the track atop a jaunty house rhythm. Then there’s “Hoasca,” a wobbly jungle hybrid on which Luca Durán and Atrice borrow liberally from the hardcore continuum, and then make a point to subvert all of its norms. None of these are paint-by-numbers bangers, and as long as TraTraTrax continues to commit itself to this sort of creativity, its compilations will likely continue to be must-listen affairs.
B. Rupp “For Glenn (The World We Never See)” (Accidental Meetings)
Pop Music is the title of B. Rupp’s latest full-length, and while that might prompt some to wonder if the Bristol ambient / experimental artist has suddenly joined the throngs of producers taking cues from Y2K-era chart hits, his new LP is actually a rather weird and sludgy affair. There is a bit of singing, but post-punk outfits like Gang of Four and Cabaret Voltaire seem like the most obvious reference points, and the standout “For Glenn (The World We Never See)” is the album’s joyous freakout, its gnarled funk conjuring memories of old James Chance records and the gloriously messy grooves of early-’80s post-punk.
CCL “Strange Attractor” (!K7)
After years of being hailed as a mind-bending, boundary-busting DJ, CCL has taken some very public steps into the production arena in 2024, first with Tilda’s Goat Stare—a collaborative EP with Ciel—and now with Plot Twist. The record is the Berlin-based artist’s solo debut, and while their technical prowess behind the decks surely led some listeners to expect some sort of head-spinning, genre-collapsing production marvel, CCL delivered something that’s surprisingly… normal, for lack of a better word. Not “normal” as in unaccomplished or unremarkable, but normal in the sense that the EP’s four tunes—which include a stompily chugging remix from Piezo—prioritize mood and groove. Even the sound design plays it cool; while it’s marked by a clear attention to detail, one never gets the feeling that CCL is showboating. Simply put, there’s an ease to the record, which borrows heavily from the tripped-out sound palette of ’90s prog, and not even the standout “Strange Attractor,” a breaky techno cut that ramps up the tempo to 160 bpm, can break the EP’s psychedelic spell.
Salamanda “Homemade Jam (K-LONE Marmalade Mix)” (Wisdom Teeth)
A favorite from Salamanda’s 2023 album, In Parallel, the original “Homemade Jam” was a cozy bit of electronic bedroom pop, its charm enhanced by the song’s baby-voiced refrain of “make a jam, by myself, make a jam.” Those words pop up again on the new Homemade Jam (Tom VR and K-LONE Remixes) 12”, and while Tom VR puts them to use on a wonky, minimal-ish techno rework, it’s Wisdom Teeth co-founder K-LONE who strikes gold, reshaping “Homemade Jam” into a twinkling slice of new age-flavored pop. Part lullaby and part mid-2000s R&B—Cassie’s iconic “Me & U” comes to mind—his remix significantly brightens up the source material, and exudes an infectious sense of childlike wonder.
Clearcast “Weightless Hit ’Em” (Tabula Rasa)
The story of hit em—a genre that Drew Daniel literally dreamed up earlier this year—proved intoxicating to the electronic music world a few months back, but now it’s time to see if the actual music will have the same sort of impact. Curated jointly by Daniel and Machinedrum, the Thank You, Dream Girl. compilation showcases 27 different takes on hit em, and given the nascent sound’s designated tempo (212 bpm), it’s not surprising that many of those takes feature blazing drum attacks and pull liberally from the breakcore playbook. Clearcast, however, follows a different path with “Weightless Hit ’Em,” forgoing percussion altogether and instead piecing together a delightfully floaty, high-gloss number than has more in common with PC Music than Tigerbeat6. It’s an obvious highlight, and a welcome signal that the boundaries of hit em are anything but concrete.
Elori Saxl “Grows Along the River Fast” (Western Vinyl)
Earth Focus is a public television series, and the score for its latest season—which explores “the intricate connections between Southern California's natural landscapes and urban development”—was composed by New York-based ambient / experimental artist Elori Saxl. That score has now been issued as a proper album, also called Earth Focus, and the spacious “Grows Along the River Fast” is the record’s resplendent centerpiece. Stretching out across nearly nine minutes and consisting of little more than elegantly rippling synths and some vibrant flute outbursts, the composition unfolds at a leisurely pace, yet it nonetheless triggers a sense of awe, its graceful flutters quietly demanding that listeners drop whatever they’re doing and cast their gaze toward the horizon.
Blake Lee “Echoplexx II” (OFNOT)
Having spent more than a decade as a guitarist and music director for Lana Del Rey, Blake Lee may not seem like the likeliest of candidates to drop an album on OFNOT, the label helmed by Kenyan ambient / experimental artist KMRU. Yet No Sound in Space—an LP billed as “a cinematic meditation on the cosmos”—makes for a surprisingly comfortable fit on the young imprint, its melodic wanderlust buffeted by gauzy textures and an abundance of pillow-soft static. Lee’s intensity builds over the course of the record—closing song “EXP”is essentially a towering wall of sound—but the standout “Echoplexx II” resides in an inviting middle ground, its symphonic dalliances unfurling alongside what sounds like the steady hum of a far-off jet engine.
Romance & Not Waving “From the Weary Earth to the Sapphire Walls” (Ecstatic)
Nearly four years have passed since Romance first surfaced, and somehow, even after more than 10 separate releases, the identity of whoever’s behind the ambient-leaning project remains unknown. That in and of itself is impressive, but what’s even more impressive is that the mystery surrounding Romance never seems to overshadow the music, which has remained consistently gorgeous. Wings of Desire, like several of the previous Romance records, is a collaboration with Ecstatic founder Not Waving, and its beauty—which is directly inspired by Botticelli’s iconic painting, The Birth of Venus—is especially striking on “From the Weary Earth to the Sapphire Walls.” It’s a humble cut, at least within the context of the Romance catalog, but its ethereal drift has an almost narcotic effect, the song’s organ-like chords and obscured choir fragments conjuring visions of ornate cathedrals and Renaissance-era elegance.
Merely & Malibu “idle citi” (YEAR0001)
Though it arrived last week with remarkably little fanfare, Essential Mixtape is a spellbinding new collaboration from Merely and Malibu. While the latter is surely familiar to most First Floor readers—she was interviewed here in the newsletter back in 2022—Merely is no newcomer; hailing from Sweden and formerly a member of the group Team Rockit, her ambient pop creations date back more than a decade. Essential Mixtape, however, is the duo’s first extended joint outing, and “idle citi” is one of its many sumptuous highlights. Built atop swelling waves of slow-burning, trance-adjacent synth riffs, the plush track has a definite epic streak, but the vibe is closer to “chilling on the beach and watching the sunrise” than “put your glowsticks in the air and dance with Tiësto.”
Zaumne “Lucid” (Warm Winters Ltd.)
Following up on last year’s stunning Parfum LP for Sferic, Zaumne has linked up with Slovakian outpost Warm Winters Ltd. for his latest full-length, Only Good Dreams for Me. Much like its predecessor, it’s an arresting record, and one on which the Polish artist displays a real knack for finding—and amplifying—the beauty in the most intimate bits of audio. The ambient tag could be applied here, but it doesn’t really do the music justice, as Only Good Dreams for Me bears traces of dream pop, trip hop, classical instrumentation, field recordings and ASMR; more importantly, it refines those elements into lush little sonic passages. Clocking in at more than three minutes, album opener “Lucid” is less fleeting than many of the tracks that follow, and with its delicate chimes and softly cooed vocals, it immediately establishes the LP’s moonlit aesthetic and late-night allure.
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.)
Until next time,
Shawn
Shawn Reynaldo is 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 potential work opportunities.