First Floor #288 – The Devious Patience of Corporations
The resilience of Bandcamp, plus a round-up of the latest electronic music news and a fresh crop of new track recommendations.
Maybe allowing corporations to control large swaths of independent culture wasn’t such a good idea. That’s a self-evident observation, but reasserting it feels especially important in the aftermath of the past few days, when a raft of DJs took to social media to complain that their thumb drives had suddenly become unusable on the industry-standard CDJ-3000s. (More specifically, when their drives were plugged into the machines, they showed up as blank, prompting fears that their playlists, tracks and histories had all been wiped.)
As it turned out, the problem stemmed from a recent firmware update by CDJ-3000 manufacturer AlphaTheta. On Tuesday, the company released a statement announcing that distribution of the update had been temporarily suspended, and that anyone who’d already installed the update should go ahead and downgrade to the previous version of the firmware. (On a related note, tech-savvy Seattle-based artist nohup put together a helpful blog post with step-by-step instructions laying out what DJs can do to avoid this problem.)
Crisis averted. Right? Maybe so, but it’s nonetheless troubling that something as seemingly inconsequential as a hardware firmware update could send such a profound shudder through the electronic music sector. While DJs have always been dependent on gear—and, more often than not, gear that most likely wasn’t their own—this kind of snafu makes clear that they’ve ceded an alarming level of autonomy to a single corporation. That corporation (AlphaTheta) has no concrete obligation to run any decision by its primary user base, and though social media does provide some level of potential accountability, its influence is limited by the company’s virtual monopoly over the professional DJ market.
This won’t go into AlphaTheta’s marketing materials, but maximizing profits by making users as dependent as possible on its products is one of the company’s underlying goals. Questions like “Is this update necessary, or even helpful for DJs?” are secondary at best, and when disaster strikes or things suddenly go sideways, AlphaTheta can simply address the problem after the fact, and do so without having to seriously worry about users defecting en masse to competing brands.
Of course, this kind of corporate consolidation isn’t limited to the realm of electronic music. It’s everywhere, and a little more than two years ago, it was one of the primary factors fueling the panic that erupted when Bandcamp—which has come to play an absolutely pivotal role in the independent music ecosystem—was unexpectedly sold for the second time in 18 months. With half of the staff being callously shown the door, and a new, private equity-backed owner taking control of the company, predictions of the platform’s imminent demise began to circulate, leaving users to nervously wonder what would happen when Bandcamp inevitably went kaput.
Two years later, they’re still wondering.
Actually, that’s not really true, as much of the independent music sphere has quietly put its Bandcamp-related anxiety in the rearview mirror. The company remains ensconced in both the culture and the industry, and complaints about its ownership and business practices have all but disappeared from the discourse. How did that happen? And what does it say about the long-term viability of even the most impassioned online freakouts? I tackled those questions—and looked at the current health of Bandcamp—in an article published earlier this week. You can find a link to that article below, and yes, the paywall is currently down.
Beyond that, it’s been another dizzyingly busy week in the world of electronic music, and if you’re looking to get caught up on what you’ve missed, the First Floor digest is here to help. Today’s newsletter includes the usual assortment of news items, new release announcements and suggested reading links, and for those needing an infusion of new music, I’ve assembled a sizable batch of track recommendations, all of them focused on tunes from albums and EPs that dropped during the past week or so. As an added bonus, I’ve also enlisted Egyptian producer ABADIR to put on his journalist hat and drop in with a special guest recommendation.
There’s a whole lot to get through, so let’s dive in.
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 essay examining the current state of Bandcamp. Two years ago, the company’s acquisition by Songtradr triggered a tidal wave of bad press, and seemingly soured the platform’s standing in the independent music ecosystem. Yet Bandcamp soldiered on, and now, even as several upstart competitors are vying for its customer base, the company not only appears to be on stable ground, but faces little in the way of sustained criticism.
ANOTHER THING I’M DOING
Today I’ll be heading to Utrecht, as Dutch festival Le Guess Who? has invited me to be part of its Sound & Culture summit (i.e. the conference portion of its line-up). More specifically, I’ll be participating in a panel discussion called “Digital Dilemmas: Archiving and Preserving Culture,” which is scheduled to take place on November 7 (i.e. tomorrow) and looks to examine—among other things—the relationship between cultural memory and fragile digital infrastructures.
If you’re going to be at Le Guess Who?, come down and say hello.
REAL QUICK
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.
Superstruct—the KKR-owned, UK-based festival conglomerate whose portfolio includes Boiler Room, Sónar, Field Day and more than 80 other events around the globe—has largely been quiet during the past year, even as protests about its parent company’s business practices and ties to Israel prompted widespread critique, protests and, in some cases, BDS-sponsored boycotts in which dozens of artists dropped off of line-ups. For some reason, however, a high-level Superstruct director—who remains unnamed, but is apparently based in Spain—has now elected to loudly speak out in a new article published yesterday by Spanish newspaper El Mundo.
Stating that “the boycott has been a campaign of pure harassment and bullying” that generated “unnecessary tension in order to comply with the agenda of certain movements,” they rejected the notion that Superstruct is tied to the conflict in Gaza. They also repeated the misleading claim that “not one euro” of the company’s revenue goes to KKR, and addressed the recent departure of Sonár’s directors from the festival, claiming that the change was part of an “orderly transition” that was years in the making, and that the founders weren’t actually directors anymore, but mere advisers. Capping the conversation, this director blasted those opposed to the growth of festivals as “naive,” asserting that they “didn’t know one industry where capital is not present” and that if today’s festivals “were as shabby as they were 15 years ago, [Superstruct] wouldn’t be the power that we are today.”
There’s a lot more to say—sadly, I just came across this story this morning—but I will say two quick things:This person seems like a real class act.
It’s going to be very interesting to see which artists agree to play the 2026 editions of Superstruct’s many events, or for that matter, continue to engage with Boiler Room.
claire rousay doesn’t shy away from getting real with journalists. Her First Floor interview from last year, for instance, got extremely personal at times, and the LA-based artist brought a similar sense of transparency to her recent conversation with Stephan Kunze for his zensounds newsletter. Aside from talking about her new album, a little death, she opened up about her struggles with touring and sobriety, the financial challenges of life as an independent artist and why she has no desire to make another solo LP anytime soon. It’s by no means a depressing read, but for those looking for some rousay content that’s a bit brighter, she also recently talked to Ryan Dombal for an installment of Hearing Things’ The Producers series, in which she shares seven songs that she considers to be “perfectly produced.”
Speaking of content that will lighten anyone’s mood, DJ Mag’s latest Recognise feature with Vladimir Ivkovic—which also includes an exclusive new mix—is a perfect antidote to the less-than-encouraging state of contemporary DJ culture. Written by Michael McKinney, the piece traces Ivkovic’s craft all the way back to his childhood in Belgrade, also touching on his famed stint at Dusseldorf’s Salon des Amateurs, his enduring love of vinyl and his determination to constantly push dance music beyond its expected parameters.
A little more than a year after the Recording Industry Association of America (RIAA) sued generative AI music firms Udio and Suno, accusing the companies of copyright infringement on a “massive scale,” Universal Music Group—the biggest label in the world—issued a press release announcing that it had reached “strategic agreements” with Udio to create a “licensed AI music creation platform.” Few details of the plan were provided, though that didn’t stop Music Business Worldwide from quickly publishing an op-ed by Ed Newton-Rex, who hailed the settlement as “a win for musicians everywhere.” Less enthused was the Music Artists Coalition, a non-profit group whose “cautiously optimistic” response to Universal’s announcement spelled out several demands and questions that still need to be answered.
The run of brilliant house records that New Jersey natives The Burrell Brothers made during the late ’80s and early ’90s—under dozens of different names—is virtually unparalleled, which is why it was so disappointing to hear that one half of the duo, Rhano Burrell, had passed away. His twin brother Rheji shared the news this via Instagram, which is also where the Nu Groove label—which issued much of the brothers’ original catalog back in the day—posted a tribute to Rhano. A GoFundMe campaign has also been set up, with proceeds going to funeral costs and his daughter’s future needs.
In a lengthy new feature for DJ Mag, writer Nathan Evans tackles the perpetually vexing issue of phones on the dancefloor, and does so in a way that pushes beyond the usual knee-jerk “they’re bad!” narrative. While the piece does acknowledge the many, many negative effects that the proliferation of phones and filming have had on club culture, it weighs those drawbacks against the reality that phones are also the main way that even the most dedicated and well-intentioned electronic music fans tend to communicate with one another, learn about upcoming events and keep up with the latest trends in the music.
The phrase “AI slop” has rapidly become an almost unavoidable part of the cultural discourse, but when it comes to music, how exactly does it get made? And why does it seem to be everywhere? In a recent feature for Hearing Things, writer Andy Cush addressed those questions head on, and in the process revealed not only how shockingly easy it is for slop to get produced, but how few protections exist to prevent fraudsters from spreading it throughout the music ecosystem.
Sticking to the topic of slop, it’s something that Oneohtrix Point Never has spent quite a bit of time thinking about, and in a new Dazed interview, he tells writer Thom Waite about the ’90s-era “proto slop” he discovered—and ultimately put to use—while creating his upcoming Tranquilizer LP.
A lot of contemporary studio content focuses on technique, but anyone longing for an old-school-style article that’s simply stuffed with photos of cool-looking machines will likely enjoy Attack magazine’s new My Studio feature with Dublin-based duo Long Island Sound.
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.
Peverelist’s recent Pulse EP series was widely celebrated as some of the best stuff the Bristol mainstay has ever done, which is perhaps why he’s now decided to commission a sort of addendum. While the forthcoming Pulse Remix EP doesn’t contain any new originals, it does include reworks from the likes of Fadi Mohem, Polygonia, Optic Nerve (a.k.a. Detroit veteran Keith Tucker) and Huey Mnemonic. The latter’s take on “Pulse XX” is available now, and the full EP will drop on November 21 via Livity Sound.
With Eris Drew’s entry in the long-running DJ-Kicks mix / compilation series due to arrive next week, the virtuoso selector has offered up another track that’s exclusive to the release: a new single from her partner Octo Octa. Entitled “Cabin Dance,” the song is out now on !K7.
Born out of an impromptu link-up in Japan earlier this year, the Nagoya EP from bass-loving madmen Nikki Nair and Foodman was unveiled earlier this week by the Hyperdub label. The two-track outing will be issued in full on November 7 (i.e. tomorrow), but opening cut “Sorry I Lost My Glasses in the Public Bathhouse” has already been shared.
Experimental artist doris dana, who earlier this year penned a special guest recommendation for First Floor, has a new EP on the way. Said to contain “ghostly whispers,” “crisp soundscapes” and “low-slung dustiness,” it’s called wild at heart, and it’s scheduled to land on November 21 via the Oscilla Sound imprint. Ahead of that, the song “devotion” has already been made available.
Ilian Tape regular Stenny has returned to the label with a surprise new album. Sharp Fragments surfaced this morning, and is available in full now.
ABADIR 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 ABADIR, an Egyptian artist and music journalist currently based in Berlin. Though his productions have appeared on a number of different labels over the years, he’s best known for his releases on SVBKVLT, where he’s showcased an undeniable talent for hi-fi sound design, relentless rhythms and acrobatic drum programming. (The turbo-charged maqsoum loops of “Another One,” from his breakout 2022 album Mutate, will infuse any dancefloor with an instant dose of adrenaline.) Yet ABADIR also has a conceptual streak; 2023’s Ison LP offered up imagined hymns and fictional chants he’d constructed using repurposed field recordings of Coptic, Syriac, Maronite, Greek Orthodox and Catholic choirs, and his most recent full-length, this year’s Kitbashing, pushed back against our algorithmic existence through its subversive use of audio snippets from reels, suggested posts and sponsored ads he’d come across on social media. Cultural critique comes naturally to ABADIR, and it also informs his writing, most notably via his regular contributions to Arabic-language outlet Ma3azef. He puts that same skillset to use with his recommendation below, which shines a light on one of his SVBKVLT labelmates.
mmph “Harvest” (SVBKVLT)
The title track of mmph’s Harvest EP is something I see as a highly beautiful piece of art. I remember when Gaz from SVBKVLT asked me to remix it. I was hesitant and told him, “This is an extreme beauty, it’s better to keep it untouchable.” He still managed to convince me, and I didn’t regret remixing it, but I believe the original version is 10 times better. Actually, it’s better than anything. The track encapsulates diverse musical sources across time and space; we can hear elements of Korean folk and glimpses of Western classical music, along with genuine electronic experimentation that transforms mmph’s cultural environment into a fascinating and musically rich hybrid being.
LISTEN UP
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.
Hilary Woods “Endgames” (Sacred Bones)
“Endgames” has been floating around for a couple of months already—it was the first single released from Hilary Woods’ new Night CRIÚ album—but now that the LP has officially found its way into the world, the song’s brooding majesty is shining particularly bright. Though her past two releases—2023’s Acts of Light and 2021’s Feral Hymns—were instrumental affairs, Woods has put her voice back into the mix on the new record, and on “Endgames,” she cooly glides between husky talk-singing and a swirly melodic croon, ultimately landing in a zone that’s reminiscent of fellow Irish artist Maria Somerville and even some of Broadcast’s dreamier outings. Fleshed out with strings of both the florid and droney variety, the track has the emotional heft of a funeral elegy and the ethereal beauty of a lullaby, and Woods maintains that tricky balance while spilling her guts in a way that’s truly mesmerizing.
Penelope Trappes “Bleed” (One Little Independent)
Leaning further into her sorceress era, Penelope Trappes has just released Æternum, a funereal companion to her A Requiem album from earlier this year. Stuffed with somber drones, windswept textures and the occasional blast of jagged guitar squall, the record takes cues from ritual incantations and black metal alike, and on the standout “Bleed,” the Australian-born, Brighton-based artist is at the peak of her dark powers. Patiently unfurling her beguiling vocalizations as the song’s weighty underbelly slowly grows in both intensity and menace, Trappes’ arresting presence demands the attention of everyone in earshot—and locks them in with what sounds like an ancient siren’s call.
Ess Whiteley “Interspecies Magicians” (Métron)
A song title like “Interspecies Magicians” to is bound to prompt thoughts of frolicking with fuzzy forest creatures, but Ess Whiteley takes inspiration from something far less adorable: mycorrhiza, which the Royal Horticulture Society defines as “fungal associations between plant roots and beneficial fungi.” In other words, the magic being explored on the new Mycorrizhal Music album is largely happening underneath the dirt, but there’s nothing dark or damp about Whiteley’s music. Informed by ambient, new age, IDM and the kind of oddball ’80s music that often winds up in the “jazz fusion” rack at the record store (simply because there’s no other suitable place to put it), the compositions are precisely crafted, melodically vibrant and rhythmically adventurous. The aforementioned “Interspecies Magicians” embodies all three of those qualities, and heightens its bubbly energy with wiggly synths, gleaming chimes and a playfully rambunctious spirit that recalls the colorful freakouts of Yellow Magic Orchestra.
COLA REN “Ripples” (Human Pitch)
Human Pitch—the NYC label that’s also been home to music from Tristan Arp, Salamanda and a number of other genre-blurring, ambient-ish acts—feels like a perfect home for COLA REN, and on her new Mekong Ballad EP, the Guangzhou-based artist has ventured into territory that’s both wonderfully colorful and refreshingly organic. That latter quality is certainly boosted by the presence of Chinese saxophonist tga and Thai trumpeter rrrrrm, not to mention COLA REN herself, who grabs the mic and sings for the first time on the EP’s title track. Funnily enough, the record’s best song, “Ripples,” contains none of those elements, yet it radiates with natural warmth all the same. Maybe it’s the birdsong, or maybe it’s the wispy synths that dart around like leaves blowing in the wind, but this new age-adjacent gem conjures visions of tranquil days and delicately manicured gardens.
claire rousay “a little death” (Thrill Jockey)
After wearing her heart on her sleeve for last year’s emo-pop opus sentiment, claire rousay has returned to meticulously crafted, avant-garde composition on the new a little death LP, which the LA-based artist says is the closing chapter of a trilogy that also includes 2020’s a heavenly touch and 2021’s a softer focus. A melange of processed field recordings, massaged textures and instrumental contributions from artists like M. Sage and more eaze, the album is an electroacoustic slow burn, and its title track, which clocks in just shy of eight minutes in length, closes out the record in a quietly triumphant fashion. Admittedly it’s strange to describe any song that prominently features a warbling clarinet—in this instance, provided by gretchen korsmo—as “triumphant,” but even as rousay dabbles in tape hiss and scratchy patches of static, the track’s trajectory remains stubbornly (albeit subtly) cinematic, calmly gliding toward the horizon as the sun goes down.
Daou “The Laughter” (Ruptured)
The ocean plays a prominent role on Blue Ghost, but the ambient-leaning new album from French artist Daou isn’t rooted in seaside luxury or chilled Balearic grooves. It’s a deeply nostalgic effort, one that looks back on faded (and, in all likelihood, overly idealized) memories of days spent soaking up the sun and lounging along the shore. Though the years have sapped some of the color from those memories—and the album’s sonic palette—the underlying emotions remain potent, and on LP standout “The Laughter,” the song’s tinkling chimes hint at youthful whimsy and wonder, its soft melodies drifting along as waves crash softly in the background. It’s a bit melancholy, yes, but it’s also deeply intimate, as Daou makes the inner recesses of his psyche into a rather inviting destination.
µ-Ziq “Escorial” (Balmat)
µ-Ziq “Tente” (Balmat)
µ-Ziq “Billowy” (Balmat)
More than three decades into his music career, Mike Paradinas (a.k.a. µ-Ziq and a litany of other aliases) is supposed to be a known quantity. Founder of the Planet Mu label? Check. A foundational figure in UK electronic music, and the IDM genre in particular? Check. An artist with a talent for ambient songcraft who’s also half Spanish? Wait … what? Admittedly, Paradinas did flash his ambient-ish skills on his 2023 Balmat debut, 1977, but the Spanish heritage, as far as I can tell, is something he only previously mentioned as part of a promo blurb for FaltyDL remix EP back in 2009. Why does that heritage matter now? Because it was apparently a visit to the Spanish towns of Ávila and Majadahona—where his family hails from—that ignited the creative process behind his latest full-length, 1979.
Much like 1977, the new LP is technically more ambient-ish than pure ambient, but wherever 1979 ultimately gets filed, it’s a fantastic record from a veteran producer who’s been on a real hot streak during the past several years. Among the many highlights are “Escorial,” which closes the album with a sweet—dare I say sentimental?—series of twinkling chimes, and “Tente,” where a twisted and disembodied female vocal fragment drifts among a landscape of bent synths and intermittent power chords. “Billowy,” another standout, is as lush as its title would suggest, its gentle arpeggio surrounded by an array of pillow-soft pads. It’s immensely satisfying to observe Paradinas explore this lane without slipping into maudlin tropes and overworn ambient cliches, but 1979 does raise one more important question: Why hasn’t he been making this sort of stuff all along?
Joe Davies & Johan Kaseta “AMY Dub” (KANN)
The original “AMY” appeared on Shields in Full Sunlight, Joe Davies’ 2023 album for Smallville. That version was also a collaboration with Johan Kaseta, and the two have teamed up once again on the new Girl on the Moon EP. Most people will (understandably) head straight for the K-LONE remix of the record’s title track, which is definitely worth a spin or two, but the real keeper is this new dub of “AMY,” on which Davies and Kaseta have stripped out the original kick drum, infusing the song with a sort of weightless psychedelia. There are hints of The Orb at work, and amid all of the song’s leisurely percolations, Davies and Kaseta even manage to flip what sounds like a snippet of an advertisement into a tripped-out vocal. Getting freaky rarely feels this luxurious.
Jeremy Hyman “Clear Chords” (JH)
Though he’s logged time behind the drumkit with acts like Animal Collective, Boredoms, Dan Deacon, Avey Tare’s Slasher Flicks and Ponytail, ardent followers of the Future Times label are most likely to recognize Jeremy Hyman from his contributions to Lifted, the long-running, improvisation-oriented project / collective headed up by Max D. That’s fair enough—most drummers are relegated to support roles, particularly in the eyes of the general public—but Hyman has in fact dropped a few solo outings over the years, and with his new Low Air LP, he’s finally put his name on a proper full-length.
Moving between ambient tranquility and fathoms-deep dancefloor grooves (and making a few dubby stops along the way), he sounds both comfortable and confident, the sharpness of his rhythms never disrupting the album’s relaxed atmosphere. It’s telling that the standout “Clear Chords”—a song which fits no one’s definition of a “banger”—is actually one of the perkier cuts on offer. An exquisite slice of slow-mo house music, it’s been outfitted with crisp percussion, the tiniest hints of acid and some plush textures that provide more satisfaction than a deep-tissue massage.
Cousin & Priori “Rummage” (naff / Moonshoe)
Progressive house and dub techno haven’t traditionally gone together, but both Priori and Cousin make that combination sound like the most natural thing in the world. In fairness, the new Fly in Amber EP—the duo’s second team-up, following 2023’s similarly excellent Numina—also includes some nods to atmospheric drum & bass and the grand lineage of UK-centric bass-techno hybrids, but the propulsive “Rummage” is something that credibly feels like it’s taking cues from both Rhythm & Sound and old Sasha & Digweed mixtapes. Murky without feeling spooky, and melodic without being cloying, the track is a cool-headed cruiser, and a solid reminder of why pretty much anything Priori and Cousin do these days—together or separately—should be classified as “must listen” material.
Farren Laen “Three in the Paint” (Laen Disc)
Don’t let his low-profile fool you. As Farren Laen, NYC-based producer Brendan Neal has spent the past five years quietly releasing a steady stream of quality records that straddle the line between house and techno, tapping into the same sort of tracky sensibility and emotional depth that defined some of Levon Vincent and Joey Anderson’s best work. We’re Working on Many Levels is his latest EP, and it opens strong with “Three in the Paint,” a stripped-back affair on which bulbous acid lines casually ooze atop the song’s perky drum pattern. Deceptively mellow, it’s probably not the sort of thing that will wow anyone looking to soundtrack their next Instagram reel, but in the context of a well-plotted DJ set, it’s fully capable of lighting up a dancefloor.
Todos “Tanzenhalle” (Deep Cutz)
Hailing from Kyiv, Todos appears to be a new producer, though it’s hard to tell for sure. The label hasn’t offered up much in the way of biographical information, and a quick internet search reveals only that he A) loves posting photos of his dog on Instagram and B) appears to work as an airline pilot. Somewhere in there, however, he also found the time to put together Static Pulse, a four-track, electro-techno effort that liberally borrows from Kraftwerk, ’80s freestyle and the Dutch West Coast sound. More importantly, it’s fun, and while EP highlight “Tanzenhalle” is practically begging for someone to put some Debbie Deb-style vocals on top of its synthetic groove, the song’s effervescent bounce and glittering melodies will surely appeal to all those who worship at the altar of Legowelt.
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.