Super Collider – It Won’t Be Long
I couldn’t understand why Super Collider didn’t have any mainstream crossover success. The wild synth skills of Christian Vogel paired with the 60′s soul vocal stylings of Jamie Lidell. I still haven’t heard anything as good from Lidell. Lots of clicking details and vocal specialization eating into some fat riffs and grooves. Still sounds fresh to me.
The Orb – Slug Dub
Seeing the Orb at Féile ’95 was a real brain opener. Their “Adventures..” and “UF Orb” LPs were a great gateway into a lot of other “ambient” electronic music going on in the early nineties. But it was the mid-period “Pommee Fritz” and “Orbus Terrarum” releases that presented something very unique. Its nutty journey music in the real psychedelic sense. Dave Fanning used to play this tune a lot on 2FM! DAVE FANNING!
Freeform – Brieflei
This tune embodies a lot of what the genre means to me. I find I’m not thinking much about music I’ve heard before when I’m listening to it. It seems to exist in its own atmosphere without being completely alienating or impenetrable. Electronica is probably the uncoolest genre right now which is an added bonus if you fancy seeking solace from the hype machine.
Susumu Yokota – Kodomotachi
Proper “drift away” music. Some really curious sample sources and a slick minimal approach to composition, Susumu Yakota’s more chilled records have a great sense of mystery about them. Rather than constructing his sounds from scratch his music seems to be more about the juxtapositions of arcane recordings looping away for your pleasure. I’m probably stretching the term “Electronica” here but the tune is nice so its grand yeah?
Pole – Klettern
Cheating with this one as it was released in 2000. This track is from the third in Stefan Betke’s Pole primary colour series (the best of the three I think). His bespoke soundworld disperses crackles and clicks across a hissing smudged dub reggae influenced backbone. Associate of the Berlin Basic Channel label, Pole’s music delves deep into the glitch world bypassing the dancefloor 4/4 pulse rhythms of his counterparts. He seems to be using these tiny audio artifacts as a kind temporal spray. Or sonic velcro. Or some other analogy.