Carl Finlow has long been a dedicant of UK electro. Emerging with his first release on Warp in 1993, the Liverpool native was a pioneer of the country’s distinct take on the U.S. style.
Since, he has released on labels like SCSI-AV, Trope, Klang, Soma and Craigie Knowes. Now, he’s stepping up once again on Knowes with the ‘Boolean’ EP, set for release this Friday 16th November.
Brain Rays – one half of experimental hip hop duo Baconhead – will release his new electro EP ‘Void/I Make Moves’ on Friday 16th November. It follows releases on My Techno Weighs A Ton and Unknown to the Unknown To The Unknown.
Horror, when done well, isn’t about constant jump scares and incessant gore. The scariest stories, films and shows are rather the ones that feed on suspense – on their unpredictability and potential to make blood run cold with the most subtle shift in tone.
There are many ways to frame the story of Sherard Ingram’s unique rise and stature as one of techno and electro’s most consistent, authentic and trustworthy DJs. He has limitless chapters entrenched in the entire lifetime of Detroit music culture; multiple aliases and collaborative projects that place him in the Venn overlap of so many genres, from electro to downtempo, even drum & bass. He has numerous personal interests and ideologies.
"Did I feel like a stingray? Never. But I wasn't going to argue with James Stinson. I felt it and I understood what he wanted, because I understood the Drexciya legacy. I was Stingray from that day on."
Mask fully down, there’s an instant switch from Sherard to Stingray. He’s smiling underneath the mask, but you’d never tell. I didn’t ask him if he played poker, but he alludes to a game when we use a table as a prop in the photo shoot, and you get the canny feeling he’d clear the table with you if you did. His slightly hooded, watchful eyes give absolutely nothing away. Not his mood. Not his energy levels.
￼When Eric Estornel, now best known as techno titan Maceo Plex, was just three- years-old, things in his native Miami started to change. From April to October 1980 more than 100,000 Cubans reached Florida by sea, often in dangerously overcrowded boats, where they sought exile from Fidel Castro’s rule. The Cubans traveled from Mariel Harbor, 25 miles west of Havana, in what became known as the Mariel boatlift, an event that marked a milestone in Cuban- American history.
Jensen Interceptor is one of the brightest lights on the booming electro scene that’s seen a renaissance in the recent years.
Melas also started his own International Chrome imprint in May with long-term collaborator, Assembler Code, with the pair having put out two releases on the label so far. “We have so many amazing friends around us making incredible music — as well as our own never-ending output — so creating International Chrome was a no brainer,” he explains of the label. “The focus is weaponised electro for the club. We may explore other genres in the future but for now we’re happily locked into the Drexciyan realm.”
The end of the year also sees Melas put out his debut album on Maceo Plex’s Lone Romantic. Featuring collaborations with DeFekT, The Hacker and, of course, Assembler Code, the ten-track LP is an ode to his mum, titled ‘Mother’. One of the strongest albums of the year so far, it’s a relentless showcase that fleshes out his signature sound over nearly an hour of club-focused electro, with highlights coming from the mechanical electro weapon of ‘Drip Freq’, and the dusty, Detroit-esque production styling heard on cuts like ‘Ufology’.
As Lord of the Isles, Neil McDonald has always made music that strikes a perfect balance between otherworldly and grounded, feeling simultaneously mythical and pastoral. Cosmic disco and house synths and basslines fuse with heady, earthy grooves have served to make his tracks stand out in whatever set they may appear in while never feeling out of place or brash. Listening to Lord of the Isles can, in the right moment, feel as natural as breathing.
Since The Subdermic released her first record back in 2001 (the ‘Nymph’ EP) the experimental, acid and electro DJ/producer – real name Lilly Phoenix – has had cuts on labels including Kosovo’s TMM Records, Bass Agenda, and her own imprint.
Annie Hall makes her MUSAR debut with her ‘Statics’ EP. ‘Linium’ opens up with lush ambient swells, drifting into a mesmerising analog jam…
Spanish minimal electro innovator Annie Hall is set to debut on MUSAR on 21st September with the release of her ‘Statics’ EP.
With 13 years production experience behind her and releases charted on labels such as CPU, Detroit Underground and Semantica, Hall has cut a distinct niche for herself, always veering deftly from melodic and bassy IDM complexity to sprawling electro grove.