Once fusing electronic music and jazz on fantastic albums such as Isla and their 2012 self-titled LP, Portico Quartet were one of the most interesting modern music groups to come out of the UK. However, the band’s undergone a few major changes as of late:
1. They’re now a trio.
2. They’re now known simply as “Portico.”
3. They’re signed with Ninjatune.
They’ve got a new album on the way as well titled Living Fields, and “Bright Luck” is the first track to drop from it. The song is a stylistic change of pace, finding the band leaning less on their jazz background, and more on the current trend of ethereal, exploratory, R&B-tinged electronic pop. Jono McCleery’s vocal performance is quite wonderful, but I can’t say the instrumental does anything other than make way for him, really. While I don’t mind this track, I hope the band is still able to showcase their instrumental muscle and finesse on some of the deeper cuts here as well.
Look for Living Fields on March 25th.
Clark heads back into familiar territory on his new self-titled album.
English electronic music producer Christopher Clark just released his latest full-length on Warp Records this month. It’s self-titled. Of the songs I’ve heard thus far, I’m finding it much more experimental and intriguing than his last album, Iradelphic, and “The Grit In The Pearl” is moment that must be highlighted.
The bouncy, overlapping synth leads are complimented with a driving kick drum that really brings clarity and order to the track as it continues to build this amorphous wall of reverb-slathered tones. It’s focused, but incredibly explorative as well–especially with that noisy drone in the song’s second half.
Thom Yorke’s latest solo endeavor has an interesting aesthetic, but the appeal of these tracks doesn’t extend too far beyond that.
Netherlands electronic music duo WEVAL have a new EP on the way via Kompakt titled EASIER. “Gimmie Some” is one of the few cuts from it, and I’m loving the vibe here. The atmosphere surrounding the track is quite haunting, and the beat has a hypnotic, easygoing quality to it that you might find in most microhouse songs. The moaning vocal samples add to this quality as well. However, the strange skipping, guitar-like samples that play throughout much of the track have a sharp, ear-grabbing quality to them. These sounds bring an ear-tingling CRUNCH that makes it hard to just toss this track into the back of the mind. It’s a subtle showstopper, I’d like to think.
After 13 years of studio album silence, Aphex Twin makes a mild return.
The Bug delivers a new album that reads more like two decent EPs.
A lost Aphex Twin album from the 90s resurfaces for the whole Internet to hear.
The approach Lone took to his latest record here is shockingly basic, and a disheartening departure from the vibrant, upbeat instrumentals on his last LP.
Check out the new (and possibly seizure-inducing) music video from German electronic musician Frank Bretschneider for the track “Black.Out.” The video simply consists of a series of black and white squares and circles programmed to flash in sync with the track’s incredibly punchy IDM beat. Watch it above!
“Black.Out” is taken from Bretschneider’s latest LP Super.Trigger, out now via Raster-Noton.