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.
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.
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.
Chuck Johnson’s latest album Balsams was the first music I heard after my son was born. In its own low-key way, it was the perfect introduction to the world for a newborn baby. This is some of the most sumptuous, warmly crafted, undeniably human ambient music I’ve heard in years.
Jefre Cantu-Ledesma is one of the most creative guitarists alive, perhaps the preeminent abstract painter when it comes to using the instrument as a brush.
His music transcends basic understanding of what guitar music can be, transporting listeners to realms buffeted by noise and gauzy atmospherics, spaces where traditional notions of the instrument are blasted away like a sandstorm. His latest album, On The Echoing Green, aims that sense of free-form exploration in a refreshingly melodic direction. It’s a change that results in his best work yet.
Boards of Canada are one of the most unique groups in modern music. Even a casual fan could spot their sound in a matter of seconds. Since their first album, they’ve called Warp Records home, but they’ve never been comfortable in any of the genres that legendary label is known for.
Weaving between neon-drenched hip-hop and menacing techno throb, they’ve charted a singular sound that is utterly approachable from any angle. It’s weird electronic music that your mom, your little brother, anyone can instantly nod along to. With that in mind, I present their best early track, Seeya Later, with a beguiling fan-made video:
I can’t believe it, but it’s real. Twin Peaks is really, actually, totally back.
This is one of the weirdest moments in my art life, witnessing the full resurrection of a long-dead favorite narrative. It’s something I honestly never expected to happen, and was never sure I actually would welcome. I’m so thankful to be wrong.