In a republished conversation, the former Kraftwerk member describes leaving a band frozen by its own tools, and a later career spent using machines on different terms.
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In a republished conversation, the former Kraftwerk member describes leaving a band frozen by its own tools, and a later career spent using machines on different terms.
After the Sphere, Coachella and the Pyramids of Giza, Anyma plays a club room again. His Singapore debut lands on October 10, 2026, during Formula 1 race weekend, with the ÆDEN chapter still being written night by night.
Twenty-six years after Since I Left You, The Avalanches release a fourth album built from internet ephemera rather than Melbourne charity-shop vinyl, and Robbie Chater is candid about what clearing those samples now costs.
The Italian producer returns to Warp on 11/20 with a record that pairs his trance-derived electronics with voices from skateboarding and Xiu Xiu.
From a bedroom in Legnica, Kamil Demecki’s Dream37th project treats ordinary time as the whole composition. Everyday Life is a short instrumental with a bell-like pluck, a low pad, and nowhere to rush.
From Sedona, the German-American producer turns a four-minute 4/4 into a sealed room. The single holds its temperature. It also stays inside the loop it chooses.
The new book gathers 18 essays spanning 1999 to 2026, making Cascone’s long-running argument about imagination over gear available in one place.
A Matola producer works the Amapiano circuit from a home studio and turns a familiar club form into a long look at the people who smile while they look at their phones.
The new album places Simon Green’s composer instinct and club sensibility side by side, with collaborators including Arooj Aftab, Joy Crookes, and Nilüfer Yanya.
Darren Cunningham arrives at his latest album after eighteen years of refining a fractured, static-laced electronic language — this time with CASISDEAD and Rainy Miller in the frame.
