With his 2015 debut LP Elaenia, Floating Points made a startling leap from purely electronic composition to hybrid jazz mastery, using a full band to bring his creations to life for the first time. The album should have been on my best of 2015 list, but I’m doing my best to spread the word going forward.
Recent posts have made clear my newfound obsession with under the radar ambient artist Gigi Masin, especially his Gaussian Curve project. Masin’s incredibly delicate, emotionally heavy music sends me floating, flying, and fantasizing through daydreams with ease.
In the lead-up to the big 4th of July holiday weekend, I’ve spent almost every night working on a new mixtape. I’ve finally got my passion for mixing back and it feels incredible. Instead of months or years between tapes, I hope to make them a regular feature here.
However, this latest mix isn’t quite ready yet. It needs a little more polish before I publish next week. In the meantime, I want to share the best new music I’ve been into all week. At least one of these three things will make your hair stand on end.
6 is the second album from FP-oner, the latest alias of techno legend Fred P, aka Black Jazz Consortium. While his deep house and techno releases under that name became some of the best work I’ve heard all year, I was unaware that he’d dropped a followup to last year’s incredible but under the radar 5, under the new name.
Reform Club is the real deal: all sumptuous dark dub techno splashed with rubbery bass and halting percussion, sealed with a vacuum whoosh drift. Before last month, Claro Intelecto wasn’t even on my radar. Now I can’t wait to see if he ever returns.
The impossible is now possible.
Radiohead have come back from a well-deserved but decade-long victory lap, making truly fascinating music again. This is vital stuff, the kind of work that will actually justify the coming weeks of breathless dissection. It’s more deserving of the clichéd descriptors that critics have reflexively thrown at the band – haunting, gorgeous, unnerving, innovative – than anything they’ve ever recorded.
The video for the final song on David Bowie‘s final album has arrived. It was made without the man himself, of course; Bowie doesn’t appear on screen once. In fact, no one appears on screen. Using only text and minimalist graphics, the video pulses with life, propelled by the fallen star’s immortal energy.
You need to see I Can’t Give Everything Away:
Optimistic Underground 