Today, thanks to a tip from Sasha Frere-Jones and the crazily generous Abe Abstract Dynamics, I move to a new home: www.philipsherburne.com, the new place for all things me. Hopefully this'll get me off my hiatus and back in the blogosphere. An added bonus: now with photos!

So stop coming 'round here... it's finished. Onward and upward!


For anyone not turned off by self-promotion, I wanted to note Onitor's new compilation, Politronics, to which I contributed an essay on politics and electronic music. The CD contains tracks from the likes of Radio Boy, Scanner, Mouse on Mars, Terre Thaemlitz, V/VM, agf, Schneider TM remixing Pulseprogramming, Thomas Fehlmann, et al, with essays from Martin Büsser, Onitor head Thomas Venker, and the musicians themselves. Tracks range from goofy to clicky to caustic. The cover doesn't feature a blurb from Dee Snyder on Arnie's campgain, but it would be cool if it did.


I'm still digging through a summer's worth of promos, pulling discs out more or less at random. Today I came across the Electric Soul compilation, "A Journey into Late Night Futuristic Psychedelic Soul Music Blended by the Unabombers." I'd forgive the needless adjectives -- despite my growing antipathy to all things nu jazz, having recently woken up with a wicked broken beat hangover, the track listing's not bad, between Focus' "Having Your Fun," Metro Area's sublime "Piña," and even Osunlade's "Touched My Soul." But whatever happened to mixing? Sure, it's "blended" -- meaning that the tracks fade into each other, more or less on beat. But have the Unabombers heard of keeping things in key? Punk rock mixstyles are fine if you're playing, well, punk rock, but smoove, melodic jams need to stay in key, lest you want to get a rash from all those clashing Rhodes lines. I know "proper" deejaying is going horribly out of favor, but come on guys, at least pretend to care. No wonder so many people call it "just playing other people's records."


Although I'm sure the reviews will be flush with Talk Talk comparisons, is it just me, or does Electric Music AKA sound like an awful lot like the Dream Academy?


I'm back! Well, kind of. No new scribings, alas, but I do have a brand-new mix up on the Beta Lounge. Many thanks to them for throwing me on the bill after Pole and making my homecoming, well, pretty damn sweet. Check the mix here. The lineup goes Metrologic, 370, Pole, and then I kick in around 2:42:10 (with Villalobos' "Easy Lee," such a lovely opening track, even if you don't get the, ahem, speed right at first...). The usual suspects are represented: Matthew Dear, Dimbiman, Sascha Funke, Ellen Allien, Ada (Areal), Sieg Uber Die Sonne, Superpitcher... I almost felt like I should apologize, playing such a frankly Germanic set after Pole.


I've been quiet on the posting front lately, but that doesn't mean I haven't been publishing. Two new pieces:

Tadd Mullinix (aka Dabrye, James Cotton) in SF Weekly

Christian Marclay in Frieze

...and, in further self-promotion, I've got an overview of Vienna's Sabotage Communications in the first print issue of The Blow Up, which is apparently very close to being sold out, so don't sleep on it if you're interested.


Well, I'll be damned. I've gone and fallen in love with Hot Hot Heat's "No Not Now." They'll make a rocker of me yet.
Plaid sure do love those steel drums, don't they?

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