First Floor #59 – The Best of the Worst Year
a.k.a. 2020's List Season Might Be More Interesting Than Usual
Hello there. I’m Shawn Reynaldo, and welcome to First Floor, a weekly electronic music digest that includes news, my favorite new tracks and some of my thoughts on the issues affecting the larger scene / industry that surrounds the music. This is the free edition of the newsletter; access to all First Floor content (including the complete archive) requires a paid subscription. If you haven’t done so already, please consider signing up for a subscription (paid or unpaid) by clicking the button below. Alternately, you can also make a one-time donation here.
ON MY MIND
Today is November 17. I realize that in the middle of a pandemic, days and even months have lost something of their prior meaning, but at least one thing remains all but certain:
2020’s end-of-year list season is right around the corner.
If patterns from recent years hold, we’re bound to start seeing the first “best of” lists appear within the next week or two. The pandemic may have upended our existence—it certainly hasn’t been kind to music media—but I’m fairly confident that not even COVID-19 can kill the annual onslaught of year-end lists. Media outlets need the traffic more than ever, and lists are some of the easiest ways to get readers clicking.
Best albums, best tracks, best artists, best mixes… we all know the drill by now. (Of course, some outlets and journalists will forego numbered rankings and swap out the word “best” for the more diplomatic “favorite,” but regardless of how it’s dressed up, the core act of list making remains more or less the same.)
These lists are coming, and whether you love them or hate them, you’re probably going to take a look, even if it’s just to confirm your firm belief that “lists are bullshit” or that the folks writing them are a bunch of idiots. Oddly enough, the people who hate lists are often the ones who most strongly drive their success, especially when they post about said hate on social media, stoking conflict that drives engagement and prompts platforms like Twitter and Facebook to direct even more eyeballs toward the original piece of content. It’s a vicious cycle.
Nearly a year ago, I delved into my admittedly mixed feelings about lists right here in the newsletter. At the time, I was looking toward the upcoming 2019 list season with a sense of dread, even as I openly that admitted my fondness for making them (and reading at least some of them) hadn’t yet been extinguished. This year, however, something has changed, as I’ve found myself actually looking forward to the forthcoming list deluge.
Why?
Go here to continue reading this essay. (PLEASE NOTE: the link will be open to all for the next 48 hours, but after that, it will be available to paid subscribers only.)
ANOTHER THING I WROTE
Back in September, I started a series of articles for Beatportal examining how the pandemic has impacted different segments of the electronic music industry over the course of this year. Yesterday, the series’ third and final installment was published, taking a look at music sales (and vinyl sales in particular) over the past eight months. Much to my surprise, this seems to be one aspect of the industry where things are still going well—in some cases, the economic situation is even better now than it was pre-COVID. After months of writing about the largely grim state of current affairs in electronic music, I have to admit that it was nice to find an actual bright spot.
REAL QUICK
A round-up of the last week’s most interesting electronic music news, plus links to mixes, articles and other things I think are worth sharing.
Last Thursday, DJ Mag published an article detailing numerous reports of sexual assault and harassment by Derrick May, some of which date back 20 years. (The story was written by investigative journalist Ellie Flynn—an experienced reporter who doesn’t normally write about electronic music—which is an encouraging and much-needed step, especially when reporting on these kinds of issues.) The very next day, Resident Advisor published its own exposé about the Detroit techno veteran, which contained additional accounts of abusive behavior. The author of the piece, Annabel Ross, has stated that “there is more coming.”
Liz Pelly has written another must-read article about Spotify for The Baffler, this time applying her sharply critical eye to the company’s expansion into the podcast space.
Speaking of Spotify, this Guardian opinion column by Australian music industry consultant Evet Jean doesn’t provide much new information for anyone who’s been tracking the streaming giant, but it does serve as a nice summary of where things are at and why the company’s practices are so problematic. It’s worth a quick read, and could definitely serve as a useful primer the next time someone asks you, “What’s so bad about Spotify?”
Last week’s Dekmantel podcast mix came from Barcelona selector Alicia Carrera, who put together an enticing session of slow chuggers and spacious grooves.
JUST ANNOUNCED
A round-up of noteworthy upcoming releases that were announced during the past week.
Last month, I interviewed Mosca about his new digital-only label Rent (and his decision not to send promo copies of the releases to anyone, including journalists). Yesterday, the UK producer dropped his second release on the young imprint—it’s called “This Is Not a Coded Message” and can be heard / purchased here.
More than 30 years have passed since Pauline Anna Strom released a new album, but anyone who heard Trans-Millenia Music (a 2017 reissue on RVNG Intl. compiling some of her best work) will likely be delighted to hear that the San Francisco synth explorer has put together a new full-length. Entitled Angel Tears in Sunlight, it’s scheduled to arrive on February 19 via RVNG Intl., and one of its tracks, “Marking Time,” is already streaming here. The song’s psychedelic video is also worth a watch.
Before Dance System (a.k.a. L-Vis 1990) drops his new Where’s the Party At? mixtape later this week, he’s shared another one of its all-star collaborations. “Hands in the Air” is a loopy disco rave-up he created alongside Hudson Mohawke, and can be heard here.
Bristol’s Timedance imprint is celebrating its fifth anniversary with a new compilation, Sharpen, Moving, that’s scheduled for a November 27 release. The 12-track offering includes new tunes from Bruce, Ploy, Nico, Peter Van Hoesen, Metrist and more, but before those are made available, label founder Batu has shared a new song of his own, “SYX,” that is streaming here.
Don’t Be Afraid is another UK label with a birthday on the horizon, and will soon be celebrating 10 years of existence with a new compilation called 10.01. Included are tracks from Karen Gwyer, rRoxymore, MGUN, Lurka and several others, including Kerrie, whose “At Your Peril” is already available here.
I doubt that many folks under 35 will be exited about this one, but German indietronica band The Notwist has finished a new LP, their first in six years. (For what it’s worth, I went back and listened to their 2001 classic Neon Golden over the weekend—it still holds up.) The new record is entitled Vertigo Days and has been set for a January 29 release on Morr Music (the group’s longtime label home), but four of its tracks can be heard here.
Earlier this month, the System Revival label released a new benefit compilation called Beirut Will Rise Again that includes new music from Kangding Ray, Artefakt, Nene H, Headless Horseman, Dez Williams, Electric Indigo and many others. Designed to help those affected by the explosion that devastated the Lebanese capital back in August, proceeds will go to “volunteer organizations and underprivileged families who have been injured, traumatized and displaced from their homes.”
MY WIFE HAS BETTER TASTE THAN I DO
My wife Dania is a wonderful person, but she has little regard for my taste in electronic music. Head of the Paralaxe Editions label, she often describes the music I like with words like “cheesy,” “simple,” “predictable,” “boring” and, worst of all (in her mind), “happy.” In contrast, I think she has a fantastic ear, and I’m constantly amazed by the obscure gems she unearths, both from record bins and the dark corners of the internet. Given that, I’ve asked Dania to share some of her finds with the First Floor audience. Each week, she highlights something that she’s currently digging, and adds some of her thoughts as to why it’s worth our attention.
Ylia Dulce Rendición (Paralaxe Editions)
Hello. Today is another nice day for Paralaxe. I’m proud to announce the release of this tape by Spanish musician Ylia. She’s quite well known here in Spain and well regarded in many musical circles; she’s something of a chameleon, which I think speaks to her skill as a well-rounded artist, both as an electro/techno DJ and a musician who works with experimental flamenco. Last year I saw her live show in a small café here in Barcelona, and it blew me away. I approached her straight after and asked her to release this tape. I was so in love with the live show—I wound up listening to the recording every day for months on my way to work—that I wanted her to recreate it exactly as it was for the tape, as a long sound collage with no individual songs. I’m very happy to share this with the world.
Follow Dania on Twitter, or check out her monthly radio show on dublab.es.
NEW THIS WEEK
The following are some of my favorite tracks from three releases that came out during the past week or so. (Click on the track titles to hear each song individually.) An extended list of recommendations is available to paid subscribers only.
Ana Roxanne “Suite pour l’invisible” (Kranky)
Ana Roxanne “Camille” (Kranky)
Ana Roxanne “- - -” (Kranky)
What a stunningly gorgeous record. Because of a Flower, the latest release from Ana Roxanne—you may remember her excellent ~~~ from last year—is a quiet, even delicate effort, but its sheer beauty shouldn’t detract from the album’s emotional heft. Crafted over the course of five years, the LP is said to be a rumination on “gender identity, beauty, and cruelty,” and the New York-based artist—who is intersex—has clearly woven her struggles into the album’s DNA. Though much of the music is technically ambient, this isn’t the sort of record that anonymously fades into the background, especially when Roxanne’s melancholy-soaked vocals enter the fray. (That said, the soft melodies of the instrumental “- - -” are comparable to the most tender of lullabies.) In his review of the album for Pitchfork, Philip Sherburne drew comparisons to artists such as Grouper, Julianna Barwick, Dead Can Dance, This Mortal Coil and Cocteau Twins, all of which feel appropriate, particularly when listening to how Roxanne’s emotive singing intermingles with the gentle guitar tones of “Suite pour l’invisible.” With its gently percolating drum machine, “Camille” is a touch livelier, but its sense of longing is just as potent. From start to finish, Because of a Flower is a powerful effort, and while it may leave you reaching for a box of tissues, it’s absolutely worthy of your attention.
Heathered Pearls “Music/Maintain/Feen (feat. Danny Scales)” (Ghostly International)
Heathered Pearls “Caveat Emptor” (Ghostly International)
Heathered Pearls “Utica” (Ghostly International)
In recent years, longtime Ghostly affiliate Heathered Pearls has been dabbling in the techno sphere, but with dancefloors currently off limits, perhaps it’s appropriate that his new full-length, Cast, finds him back in the ambient zone, experimenting with the soft textures that colored Loyal, his 2012 debut LP. Still, his new album isn’t a mere rehash, namely because much of the record foregrounds the human voice. On songs like “Music/Maintain/Feen,” the vocals are front and center, as Danny Scales recites what sounds like trippy, psychedelic poetry atop the song’s ominously dreamy tones. Elsewhere, folks like Terrence Dixon, Nick Murphy and even Heathered Pearls’ own stepfather hop on the mic—there are a lot of guests on the LP—but there are also songs like “Utica,” in which a tiny vocal snippet is beautifully manipulated amidst a playfully soothing suite of warm pads and drawn-out chords. More regal is “Caveat Emptor,” which pairs some majestic horn bleats with sparkling synths and proggy riffs that could have been lifted from one of Barker’s recent “kickless techno” records. It’s all fantastic stuff, and might even qualify as a high-water mark for an artist whose work often gets overlooked.
Eversines “Plooi” (Kalahari Oyster Cult)
Combining new age music with old-school rave might sound like a moderately terrible idea—and in most cases, it probably is—but Amsterdam producer Eversines has made the pairing work brilliantly on “Plooi.” Built atop a bubbling acid bassline, the effervescent song brings together perky breakbeats with dreamy, chime-like melodies, resulting in something that’s heavily steeped in numerous electronic music tropes (and a fair bit of nostalgia) but somehow still feels fresh. Listening to “Plooi,” I’m not sure if I want to rush onto the dancefloor or just zone out and ponder the nature of the universe, but the fact that the track seems to be equally suited for both tasks goes a long way towards explaining its appeal.
Once again, additional track recommendations are available to paid subscribers. This week’s selections include new music from William Basinski, Legowelt, Ulla & Perila, Yu Su and more, including new tracks from labels like Music from Memory, Príncipe, RVNG Intl. and more.
To sign up for a paid subscription and gain access to all First Floor content, including the full archive, please click the button below.
That’s it for today’s newsletter. As always, I have to say thank you so much for reading, and I do hope you enjoyed the tunes.
See you next time,
Shawn
Shawn Reynaldo is a freelance writer, editor, presenter and project manager. Find him on LinkedIn or drop him an email to get in touch about projects, collaborations or potential work opportunities.