Replicant began as an imaginary soundtrack to Blade Runner 2049 – weirder, noisier, darker, and more futuristic than the music in the film. I watched it and loved it, but kept thinking that they played it safe with the score. I thought I could do better with a mixtape; rather, some of my favorite artists already have already mapped this sound out.
But then the mix gained a life of its own as it neared completion. It got more perseonal as it grew. Now I can say that it is simply my cyberpunk dream score for life in 2017 and beyond.
In 1980, David Bowie followed up the critically beloved but sales deprived Berlin trilogy of experimental rock albums with a set of tunes meant to jump-start his career again. I’m not sure what the label executives were hoping for, but the result feels like a hulking, mutated cousin of what came before it.
Scary Monsters (and Super Creeps) is one of the wildest, weirdest albums of Bowie’s career, ripping violently between hysterical pop and defiantly experimental impulses.
Robert Hood is back with a new album that fires directly at his Detroit techno roots, serving as an evolved sequel to his iconic 1994 groundbreaker, Minimal Nation.
Unlike most examples of a “back to basics” album, this one hits just as hard as its inspiration, textured with two decades of stylistic evolution. Far beyond a throwback album, Paradygm Shift is a deep genre exploration, coloring the darkest corners of pure techno, highlighting the fresh pleasures this genre still has to offer.
The New Monday is an eclectic set of rhythm vehicles caught in traffic somewhere between hip-hop, spiritual jazz, and the psychedelic fringe of techno. It fully invests in several directions at once, offering a warmly disorienting maze in its ping-ponging structure. This is Shigeto returning to Detroit, trying on its signature sounds, and realizing they fit better together than anything he’s done before.
I’ve been thinking even more about the future since my son was born. Considering that science fiction and futurism are some of my biggest passions, that means a lot. I’ve curated this focused mindset with the help of some very specific sounds along the way, and I decided it’s time to share them.
This might be my best mixtape yet. Each one has been a self portrait of a specific slice of my life, and Deep Future is no exception. It is simply the most accurate reflection of my own private future. This is an adventure under hazy cyberpunk sunsets and new age neon skylines. A glowing mesh of deep house beats and world music textures cocoon the listener. It’s the sound of tomorrow’s dreams.
In an interview with Pitchfork last week, Oneohtrix Point Never explained how he needs weird breakages and colliding contrasts to happen for music to feel truthful, and how this also applies to all good film scores. After listening to his soundtrack for Good Time, a new film by the Safdie brothers, reading this passage felt like a tiny lightbulb flickering on.
It’s the rough, distinctive patina surrounding everything he’s ever recorded, the philosophy underpinning the very reason his music is so often astonishing. It’s something he’s expressing most clearly on this, a movie score that basically functions as a proper new album.
Private Life is an ambient funk masterpiece from a mysterious new artist named Garrett. This auspicious debut LP expands the dreamy palette of Music From Memory, adding a dose of earthbound swagger to the usually anti-gravity label. Who could produce such cloudlike beat sculptures?
The answer was obvious the moment I pressed play. This is actually a new project for funk legend Dam-Funk. With a deep focus on the most dreamlike aspects of his distinctive sound, it just might be his best work yet.