Podcast appearances and mentions of philip sherburne

While the new world struggles to be born, people all round this dying old world cannot help but keep making music. Too many, frankly. Please stop. Anyway, I cannot help but keep playing you all this incredible music, postpunkindustrialdubjunglegamelanglitchjazzfolkclassical, as those in the know call it *taps nose* LISTEN AGAIN to the music of the spheres. Stream on demand from fbi.radio, podcast here. Laeter – Isolate [Laeter Bandcamp] Laeter – Leibowitz [Laeter Bandcamp] Liam Bosecke is based on Kaurna country, in Adelaide, and he’s founded a creative community called Empty Frames that aims to raise mental health awareness. His latest album as Laeter is released via that platform, but is of course available on Bandcamp (and in a handsome CD edition!) Blanket Doubt is a wonderful thing that kind of answers the question, “What if indietronica except slow-moving industrial dub?” Intense distorted drum machines and synthetic screeches underscore almost-spoken vocals, or shudder and crash under New Order-esque synth melodies. Pure perverted pleasure. Damos Room – All Shall Go [Long Gone/Bandcamp] Damos Room – Gullet (Dirty Protest) [Long Gone/Bandcamp] Last time I played Damos Room on the show was a mere month ago. I wrote at the time: I’m not sure who Damos is or what’s in their Room, but signs point to it being three guys: Luke Miles, Nicholas Elson & Huw Oleskar. I’ve just found out (because they told me, nothing underhand) that Huw Oleskar is also known as Elijah Minnelli, responsible for some of the most interesting and lovely dub-folk hybrids in recent times, ostensibly under the auspices of Breadminster County Council. As for Damos Room, you can find a series of fantastic, weirdly-shaped releases on their Bandcamp, including a mixtape of two bizarre 40-minute radio pieces, some quasi-singles of abstracted dub/spoken-word/electronics, and the experimental electronics of their collaboration with rapper LYAM, which I played on this show a few years back. So, a month ago I played something from Walk With The Militia, a vaguely-album-shaped item that wasn’t actually their new album – rather it’s a mixtape, entirely in keeping with the mystery what all this is about. It collects – I said – a whole lot of weird shit, but it’s all dub-based experimental electronics, with Minnelli’s distinctive spoken word & low-key singing, odd radio interludes and noise bits and so on. It’s really fantastic. So how about All Shall Go, their new album which is really released now? Well, it’s just as murky, weird-shaped and all as the prior mixtape and earlier works. And as with earlier works, there are also some head-nodding beats and bass, and tracks where Oleskar’s voice chants and sings in nearly melodic fashion. Don’t expect pop, dancehall or grime here, but do expect music that’s evocative, challenging, ancient and modern. Do go deep, but don’t miss that mixtape, or 2020’s Commencement either. Carl Gari – Pick’n’Peel [Molten Moods/Bandcamp] Most of us know German band Carl Gari from their incredibly strong albums made with Egyptian singer/trumpeter/poet/composer Abdullah Miniawy, on AD93 and Amphibian Records. Between those two releases, the band & singer released a live album on Molten Moods, and it’s that label that Carl Gari return to now for their self-titled album, forthcoming in June. This is the first single (by the time of writing I’ve heard the second), and it’s just what the doctor ordered – dark, insistent minimal drum’n’bass if it was produced by Depeche Mode circa Songs of Faith and Devotion, a very specific reference that probably only makes sense to me 🖤 Fez The Kid & BRUK – Original Secret [RuptureLDN/Bandcamp] Two young junglists from Bristol tearin’ it up on this new EP, their first for the iconic jungle-revival label RuptureLDN. These guys really know their jungle originals and are making the kind of tracks that wouldn’t have been out of place in an East London club circa ’93. Both Fez The Kid & BRUK have a number of EPs to their names, but have also worked together for a while, and DJ back2back as well. Turn up yr subs and feel the bass pressure while the snares go renegade. Rrrrrrrince out! A.Fruit – I Left You [YUKU/Bandcamp] A.Fruit – Choice [YUKU/Bandcamp] Anna Derlemenko aka A.Fruit is a Ukrainian music producer, born in Moscow, but her family relocated to Spain after Russia’s war on Ukraine. She co-runs the Distorted Barcelona club and does a lot of music production training & tips on her Patreon – in fact, the first track I played tonight is the subject of a full track breakdown there, and she’s shared the full Ableton project. Her productions are consistently adventurous, mixing up genres and manipulating sounds while remaining dancefloor friendly, and that’s certainly the case on her new EP Choice for the one & only YUKU. She’s an artist I’ll never not recommend. upsammy & Valentina Magaletti – Superimposed [PAN/Bandcamp] upsammy & Valentina Magaletti – It Comes To An End [PAN/Bandcamp] Dutch producer & DJ upsammy (who visited Sydney recently for Soft Centre) has previously worked the built & natural environment into her music: Germ in a Population of Buildings in 2023 created a whole environment of hallucinatory fauna and automata, repurposing IDM in a similar-but-different way to Eora’s own gi. Valentina Magaletti is one of the most versatile drummer/percussionists working at the moment, found in the postpunk-electronica band Moin, but also remaking kuduro & batida with Afro-Portuguese producer Nídia, a kind of postpunk dub with electronic producer Al Wootton, and plenty of other avant-garde stuff. upsammy & Magaletti’s collaborative album Seismo (yes, it means “earthquake”) came out of a commission from the Rijksmuseum in Amsterdam, for which they sampled the sounds of the museum itself, using its spaces as percussive surfaces, and much of the joy of the album comes from the blurring of live drums and other acoustic rhythms with electronic programming and manipulation. Around & amongst the percussion are snippets of voice (a callback Mageletti’s work with Raime and Moin, albeit applied very differently), strange fragmentary samples of guitar & bass, piano notes stretched thin, slow melodic synths. Mostly delicate, mostly the opposite of an earthquake, these are musical giants striding across our world while imps dance in their footprints. It’s a wonderful album. Hoavi – Song of the Forgotten [Peak Oil] Hoavi – Colossus [Peak Oil] And speaking of imps dancing, Russian producer Hoavi is one of the exemplars of music that sounds like skittering insects and tumbling waterfalls, drawing jungle-ish IDM into dub technoid waters. His second album for Peak Oil, Architectonics, takes those aspects into newer territories, with a bank of samples of percussive sounds from around his house, and inspiration taken from Indonesian gamelan and minimalist composition. For all this though, it’s vintage Hoavi – rhythmically complex, deep sound design. Genius. Foote/Dickow – Underwater Welder [Geographic North/Bandcamp] Peak Oil is run by two Bria/ons – Brion Brionson is the “o” guy, and the other is Brian Foote, who’s been kranky‘s media guy forever as well as running various labels (including Peak Oil just above here!) and playing in various bands. Brian’s also a connoisseur of IDM, electronica & rave in all its variations (solo as Leech), and here he teams up with Paul Dickow, best known as Strategy, maker of much dubwise, ambient & technoid musics and himself co-founder of the Community Library label. High Cube is their first outing together as a duo, and you can feel their shared musical heritage in its bones. Skittering IDM glitchbeats hover above a dub techno skeleton, and there’s a jazzy sensibility to the keyboards. Charming. Richard Pike – III. “August” [Salmon Universe/Bandcamp] Sydney’s Richard Pike, alum of PVT, is now based in London. He can be found in various ensembles, including with Joe Quirke, with whom he co-runs the Salmon Universe label, and under his own name has been making ambient-techno-hybrid-orchestral soundtracks for TV. Outside of that, he’s released solo music under the alias DEEP LEARNING on Oxtail Recordings, based around subtly rhythmic glitchy loops, but now returns to his own name for album that mixes late-night piano and glitchy dub-techno. It’s not surprising to discover that the creation of this music was directly triggered by the death of Ryuichi Sakamoto, but the music takes darker paths than the Japanese master. The full album’s out later in May, and the last single brings in something of the jungle-meets-dub techno we’ve heard a lot of tonight. Laurence Pike – Guardians of Memory [Balmat/Bandcamp] It’s lovely to find Laurence Pike – brother to Richard above – coming out on Philip Sherburne & Albert Salinas‘ Balmat label in late May. Pike was drummer in Pivot/PVT and Triosk, and the hallucinatory melding of live jazz and micro-sampled loops has remained central to his DNA since the start. There’s a trickery at the heart of Possible Utopias for Jazz Quintet, hinted at with “possible”: while there are guests on these tracks, it’s never a jazz quintet, and still predominantly Laurence solo. The “utopias” denote an idea of freedom which Pike is reaching for, in continuity with his last album The Undreamt-of Centre – that people are not atomised individuals but exist interdependently with their environment. And for all that this is a solo album, Pike begins the album with a substantial, sumptuous feature from Eora/Sydney pianist Novak Manojlovic. Utopian indeed. David Norland – E-Car Soul reNYX [Denovali] English composer David Norland, who lives between LA & London, is best known as a soundtrack writer for film and stage, as well as a composer of electronic and experimental choral music. He has an album coming via Denovali called La Source, which is not a soundtrack, but incorporates choral music into its beat-driven electronic framework. Strangely, I didn’t hear the single “E-Car Soul” as choral, but the “reNYX” by UK vocal/electronic collective NYX reworks it into their image, with vocal harmonies and rearranged electronics. Carl Stone & Asuna – Ulna As Ancestor [Room40/Bandcamp] A pioneer of live laptop music, Carl Stone has been at it since the 1980s, and has had a renaissance since Unseen Worlds released a series of his early music on triple LP sets. Stone has for a long time lived between LA and Japan, and on this new CD he’s collaborating with Japanese artist Asuna Arashi, whose toy instruments are sampled and processed by Stone and then handed by to Arashi for her to rework and… send back to Stone. With all these layers of processing, it’s not often easy to make out the original toy instruments, but it’s pretty immersive, experimental but friendly. In keeping with a lot of Stone’s own work, the titles are all anagrams of “Carl Stone Asuma”, all of which are unreasonably good (“A Nacreous Slant”? “Nascent Arousal”!) Loom & Thread – Spheres [Macro/Bandcamp] A few years ago, German jazz trio Loom & Thread released their debut album Island Grammar on macro rec. Pianist Tom Schneider is known as “frontman” of the live techno act KUF, playing as lead instrument the sampler. On Loom & Thread’s debut, Schneider at least played piano primarily, albeit sampled and processed live, as were the double bass of Tobi Fröhlich and the drums of Daniel Klein. For their follow-up Bandcamp, Schneider is well and truly a sampler-player (although yes, piano’s in there too), triggering & manipulating samples of two saxophonists and two vibraphone players (one of whom is drummer Daniel Klein). The samples’ use can range from chaotic scatter to undulant layers, around which is constructed a form of contemporary jazz. It’s weirder than their first album, but just as enjoyable. You can see them playing some of this live here, with Fröhlich also alternating between double bass & sampler. Christian Wallumrød Ensemble – Not new to [Aspen Edities/Bandcamp] It’s seems like yesterday – well OK, it was only last week – when I was talking about the richness of the Norwegian (and generally, Nordic) music scene(s), highlighting among others the stunning new solo album from saxophonist, singer, composer etc Espen Reinertsen. Reinertsen’s album was released on SusannaSonata, run by the artist known as Susanna or Susanna and the Magical Orchestra, who is also Susanna Wallumrød. She’s the youngest of a family of musicians – as well as their cousin, jazz pianist David Wallumrød, her brother Fredrik Wallumrød is a drummer of mainly rock & pop, and the oldest of the lot is pianist Christian Wallumrød (born in 1971 – Susanna was born in 1979), a renowned jazz pianist & keyboard player, whose eponymous Ensemble have released a series of albums on ECM Records. Christian & Fredrik also release music made of drum machines & synths as Brutter (also here) – glitchy, arhythmic synthetic grooves. Anyway, last week I remarked on the uncanny beauty of Reinertsen’s album, and there’s something similarly bewitching, gorgeous but slightly wrong about the music on the Christian Wallumrød Ensemble’s latest album Non Sonett, released by Belgian post-folk/jazz label Aspen Edities. The label specialises in acoustic experimental music by and large, but does slip sideways into electronics at times, and so does this latest album, where minimalist jazz compositions sidle up to Norwegian folk and haunted electronics, while remaining utterly restrained throughout. You may think this would sound cold & difficult, but it’s not: it’s engrossing and delightful, like Penguin Cafe Orchestra recording Talk Talk’s last albums, Keith Jarrett jamming Sunn O))), Henry Purcell discovering free jazz. If you only listen to one Norwegian jazz/folk record this week, make it this one (but don’t stop there). tokesmo – 02.02 [tokesmo Bamdcamp] tokesmo – 01 [tokesmo Bandcamp] Andrea B of doom/psych/metal trio Morkobot is tokesmo, a project in which he combines field recordings and found sounds with electronics. Two EPs launch the project; on tksm 01 it’s more sound-art and noise than rhythms, while tksm 02 transforms found sounds into percussive instruments for its IDM-meets-industrial beats. Whitney Johnson, Lia Kohl, Macie Stewart – paper folding | disappearing [International Anthem/Bandcamp] Whitney Johnson, Lia Kohl, Macie Stewart – laundry | blood [International Anthem/Bandcamp] Last year I played a track from a trio of Chicago-based women who were all string players and singers – in fact, I loved it so much I played it in Part 2 of my Best of 2025. Whitney Johnson on viola, Lia Kohl on cello and Macie Stewart on violin don’t just all sing – they all operate various tape machines, into which they feed their sounds and alchemically transmute their playing & singing into dusty loops. You can see this gorgeous transformation happening in real time in this video. Last year’s “stone | piece” was one partially improvised composition that’s part of the BODY SOUND album now released by Chicago (post-?)jazz institution International Anthem. There’s a surprising variety of sound here – string drones melting into tape hiss are part of it, but so are plucked prepared cello, loops glitched through manipulated recording heads, deconstructed folk melodies and quasi-classical accompaniments to angelic singing, squalling loops played at triple-time and roaring bass as the cello is pitched down multiple octaves. An extraordinary album like no other. Hara Alonso – A Second is a Choir (feat. Lia Kohl) [FUU/Bandcamp] Lia Kohl also turns up as one guest on the brilliant new EP Music of Many Nows from Stockholm-based Spanish sound-artist Hara Alonso. Here, Alonso combines accidental and casual recordings of life going by, combined with recordings of a nearby choir, a found piano and a couple of guests, and makes beautifully cracked vignettes, much deeper musically than this method would suggest. Honestly this couldn’t be more Utility Fog, and I love it so much. Daniel O’Toole – Breathing Colour [Cascade Rumble Records] Naarm-based artist & musician Daniel O’Toole was based here in Eora until a few years back, and was responsible for a lot of well-loved street art under the name Ears. Accompanying that were a few albums of funky instrumental hip-hop as Captain Earwax, but these days Daniel is emphasising the more abstract, gallery-friendly side of his art – gorgeous colour gradients and textures that you can sample here – and musically he’s making incredible custom-built instruments alongside his own strings, keyboard playing, percussion etc: check out the particle plate and the particle drum. Hand-made gestural instruments like this are at the core of O’Toole’s new album Outer Magnolia, but equally there’s a lot of acoustic sounds here – folktronica but not like your Daddy made it. Euan Alexander Millar-McMeeken – Nothing Moves In Me [Sleep In The Fire Records] London-based Scottish musician Euan Alexander Millar-McMeeken has recorded a lot of solo ambient music as glacis, and led indie/folk band The Kays Lavelle for many years. He has a substantial number of collaborative projects, many of them duos, all of them wonderful: Graveyard Tapes with Matthew Collings and Civic Hall with Craig Tattersall, Bird Battles with Jesse Narens and now Yoal with Satomimagae. In 2024, Euan released his first album under his full name, All The Weather Of The Human Heart, a deeply moving work that’s a meditation on loss, in which the central vocals & piano are cracked & smudged through digital & analogue means. Similar approaches to sound design are found on the solo follow-up Framed Insects – fragile songs and tape hiss interrupted by distorted beats or glitched into strange structures. Just gorgeous. Listen again — ~217MB

Novedades: Emer, PIGMNT, DJ Lag, Baltra, Jeigo, Leafar Legov, Basic Soul Unit, Patrick Holland, Skatman, BicepDisco de la semana: Low End ActivistMini-mix: Philip SherburneLa Perla: LeifEscuchar audio

w/ Twittering Machines' Michael Lavorgna

Hon är som en Hollywoodstjärna på valium, en siren från skuggornas USA.. Lana Del Rey har förfört en hel generation med sin melankoliska mix av glamour, förfall och gospeldoftande doom-pop. I veckans avsnitt borrar vi i hennes amerikanska dröm: lika mycket Sunset Boulevard som nedlagda bensinstationer och självförakt. Från flaggviftande lolitor till post-Trump-desillusion, vi spårar myten, musiken och mystiken bakom Del Reys säregna universum. En resa genom ett land av krossade hjärtan, cherry cola och evig skymning.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:(För båda avsnitten)Musikjournalistik och kritik:The New Yorker – Emily Nussbaum, “Lana Del Rey's Postmodern Melancholy” (2012)Pitchfork – Jenn Pelly, “Lana Del Rey: Ultraviolence” (2014), samt Philip Sherburne, “Norman Fucking Rockwell! Review” (2019)Rolling Stone – Brittany Spanos, “Lana Del Rey: From Pop Star to Serious Artist” (2021)The Guardian – Laura Snapes, “Lana Del Rey: Chemtrails… Review – All-Americana with a Gothic Heart” (2021)NME – El Hunt, “Every Lana Del Rey Album Ranked” (2023)Vulture – Craig Jenkins, “Lana Del Rey: The Lost Generation's Torch Singer” (2019)Intervjuer och porträtt:The Fader – Duncan Cooper, “Lana Del Rey: The Saddest, Baddest Diva in Rock” (2014)Interview Magazine – Jody Rosen & Lana Del Rey, “Self-Mythology and the American Dream” (2015)Vogue (UK och US editions) – intervju med Del Rey inför Chemtrails Over the Country Club (2021)BBC Radio 1 – Zane Lowe-intervjuer (flera tillfällen mellan 2012–2023)Lyrik och konstnärliga verk:Violet Bent Backwards Over the Grass (Simon & Schuster, 2020) – Lana Del Reys första officiella diktsamlingUtvalda låtar med tydligt amerikanskt tema, analyserade:“National Anthem”“Born to Die”“Ride”“Cola”“God Bless America – And All the Beautiful Women in It”“Venice Bitch”“A&W”“Chemtrails Over the Country Club”“Arcadia”Akademiska och kulturteoretiska referenser:Journal of Popular Music Studies – artiklar om “nostalgic femininity” och postmodern estetik i Del Reys oeuvreKulturkritik om Sylvia Plath, David Lynch, Bruce Springsteen, och The Great Gatsby som relevanta parallellerYasmine Musico: “Tragic Americana: Lana Del Rey's Broken Dream” (PopMatters, 2022)YouTube-essäer och visuella analyser:The Americana Dream in Lana Del Rey – ensaesthetic (YouTube, 2021)Lana Del Rey: The Anti-Pop Star – Mina Le (YouTube, 2023)How Lana Del Rey Reinvented Sadness – Polygon Sound (YouTube, 2022)Sociala medier och offentlig reception:Lana Del Reys Instagram, särskilt inlägget “Question for the Culture” (maj 2020)Fansajter och diskussionsforum som lanaboards.com och Reddit-trådar i r/LanaDelReyMottagandet från samtida artister (t.ex. Lorde, Billie Eilish, Taylor Swift) och kritik mot hennes uttalanden om feminism, ras och autenticitet.Musikvideor och bildanalys:“Ride,” “Born to Die,” “Young and Beautiful,” “Norman Fucking Rockwell,” “Chemtrails Over the Country Club,” “A&W” – analyserade utifrån användning av 8mm-estetik, patriotiska symboler, filmiska referenser och amerikansk nostalgi. Hosted on Acast. See acast.com/privacy for more information.

Hon är som en Hollywoodstjärna på valium, en siren från skuggornas USA.. Lana Del Rey har förfört en hel generation med sin melankoliska mix av glamour, förfall och gospeldoftande doom-pop. I veckans avsnitt borrar vi i hennes amerikanska dröm: lika mycket Sunset Boulevard som nedlagda bensinstationer och självförakt. Från flaggviftande lolitor till post-Trump-desillusion, vi spårar myten, musiken och mystiken bakom Del Reys säregna universum. En resa genom ett land av krossade hjärtan, cherry cola och evig skymning.Musikpodden finns även på:Instagram: Musik_poddenSpotify: Musikpodden med Arvid BranderApple podcast: Musikpodden med Arvid BranderKontakt: podcastarvid@gmail.comKällor:(För båda avsnitten)Musikjournalistik och kritik:The New Yorker – Emily Nussbaum, “Lana Del Rey's Postmodern Melancholy” (2012)Pitchfork – Jenn Pelly, “Lana Del Rey: Ultraviolence” (2014), samt Philip Sherburne, “Norman Fucking Rockwell! Review” (2019)Rolling Stone – Brittany Spanos, “Lana Del Rey: From Pop Star to Serious Artist” (2021)The Guardian – Laura Snapes, “Lana Del Rey: Chemtrails… Review – All-Americana with a Gothic Heart” (2021)NME – El Hunt, “Every Lana Del Rey Album Ranked” (2023)Vulture – Craig Jenkins, “Lana Del Rey: The Lost Generation's Torch Singer” (2019)Intervjuer och porträtt:The Fader – Duncan Cooper, “Lana Del Rey: The Saddest, Baddest Diva in Rock” (2014)Interview Magazine – Jody Rosen & Lana Del Rey, “Self-Mythology and the American Dream” (2015)Vogue (UK och US editions) – intervju med Del Rey inför Chemtrails Over the Country Club (2021)BBC Radio 1 – Zane Lowe-intervjuer (flera tillfällen mellan 2012–2023)Lyrik och konstnärliga verk:Violet Bent Backwards Over the Grass (Simon & Schuster, 2020) – Lana Del Reys första officiella diktsamlingUtvalda låtar med tydligt amerikanskt tema, analyserade:“National Anthem”“Born to Die”“Ride”“Cola”“God Bless America – And All the Beautiful Women in It”“Venice Bitch”“A&W”“Chemtrails Over the Country Club”“Arcadia”Akademiska och kulturteoretiska referenser:Journal of Popular Music Studies – artiklar om “nostalgic femininity” och postmodern estetik i Del Reys oeuvreKulturkritik om Sylvia Plath, David Lynch, Bruce Springsteen, och The Great Gatsby som relevanta parallellerYasmine Musico: “Tragic Americana: Lana Del Rey's Broken Dream” (PopMatters, 2022)YouTube-essäer och visuella analyser:The Americana Dream in Lana Del Rey – ensaesthetic (YouTube, 2021)Lana Del Rey: The Anti-Pop Star – Mina Le (YouTube, 2023)How Lana Del Rey Reinvented Sadness – Polygon Sound (YouTube, 2022)Sociala medier och offentlig reception:Lana Del Reys Instagram, särskilt inlägget “Question for the Culture” (maj 2020)Fansajter och diskussionsforum som lanaboards.com och Reddit-trådar i r/LanaDelReyMottagandet från samtida artister (t.ex. Lorde, Billie Eilish, Taylor Swift) och kritik mot hennes uttalanden om feminism, ras och autenticitet.Musikvideor och bildanalys:“Ride,” “Born to Die,” “Young and Beautiful,” “Norman Fucking Rockwell,” “Chemtrails Over the Country Club,” “A&W” – analyserade utifrån användning av 8mm-estetik, patriotiska symboler, filmiska referenser och amerikansk nostalgi. Hosted on Acast. See acast.com/privacy for more information.

Music journalist, label owner, DJ and former Line Noise presenter Philip Sherburne makes a return to the programme to review the highlights of the first day of Sónar 2024, including Olof Dreijer & Diva Cruz and Team Rolfes, and to look forward to the rest of the electronic music festival, with recommendations aplenty

Music journalist, label owner, DJ and former Line Noise presenter Philip Sherburne makes a return to the programme to review the highlights of the first day of Sónar 2024, including Olof Dreijer & Diva Cruz and Team Rolfes, and to look forward to the rest of the electronic music festival, with recommendations aplenty

Ben Cardew welcomes his old Line Noise cohort, Pitchfork contributing editor Philip Sherburne, to look back on the first day of Sónar 2023 and look forward to what is to come at the Barcelona festival, including personal recommendations. Philip also talks about the Balmat label he runs with Albert Salinas and his Futurism Restated newsletter.

Ben Cardew welcomes his old Line Noise cohort, Pitchfork contributing editor Philip Sherburne, to look back on the first day of Sónar 2023 and look forward to what is to come at the Barcelona festival, including personal recommendations.

Ben Cardew welcomes his old Line Noise cohort, Pitchfork contributing editor Philip Sherburne, to look back on the first day of Sónar 2023 and look forward to what is to come at the Barcelona festival, including personal recommendations. Philip also talks about the Balmat label he runs with Albert Salinas and his Futurism Restated newsletter.

Pow Wow singer Joe Rainey, of the Ojibwe community in Minneapolis. fuses traditional melodies and “vocables” (Philip Sherburne, Pitchfork) with the producer Andrew Broder in something of an avant-hip hop partnership, although in addition to beats, there are field recordings, industrial-sounding processed drums, string arrangements, and vocal processing. He describes his music as being on the same river, but a different boat from other pow wow singers and groups. Rainey's album Niineta—the title means “Just Me” in Ojibwe, and which he further explains is “my contribution to contemporary indigenous music” – was released on Justin Vernon and the Dessner brothers' 37d03d label, to which Rainey is signed. The music is rooted in traditional drum and dance music, where for years Rainey always had a hand-held recorder or voice memo rolling, even recording calls from incarcerated family members singing. These field recordings became part of the whole album's unique woven fabric of voice-as-instrument pieces, combined with samples and sometimes with altered by electronic processing, all layered with Rainey's own singing, which can celebrate or console, and “conveys a clear message: We're still here. We were here before you were, and we never left”, (Bandcamp.) Joe Rainey and Andrew Broder perform remotely. - Caryn Havlik Set list: “Bezhigo”, “Can Key”, “No Chants” Watch "Bezhigo": Watch "Can Key": Watch "No Chants": Niineta by Joe Rainey: Niineta by Joe Rainey

Francesco e Andrea provano il Destroyer drinking game. I dischi della settimana sono quelli di Destroyer, Aldous Harding e C'mon Tigre, e recuperiamo il disco degli Oso Oso di settimana scorsa. Philip Sherburne ha scritto un pezzo notevole sui musicisti elettronici ucraini. Il primo singolo del nuovo album di Soccer Mommy, e un pezzo di James Blake per aiutarvi a dormire. Al concerto con posti a sedere dei Fontaines D.C. la gente è stata in piedi. Il boutique festival di Courtney Barnett e due festival di solidarietà per l'Ucraina. La playlist di Friday: open.spotify.com/playlist/4kwkaAa8pfFCIZJmZMzUYx?si=641ef688a81543db

Utilizamos el 50 cumpleaños de Aphex Twin para disfrutar de una pequeña sesión con su música que nos sirva para apadrinar este inicio de temporada. El nacimiento de Balmat, sello afincado en Barcelona dirigido por Philip Sherburne y Albert Salinas (Wooky) sirve como colofón para un programa en el que comenzamos descubriendo las novedades que ... Leer más

Exploring the legacy of a producer and performer who imagined an approach to music without borders. Guests: Sasha Geffen and Pitchfork's Philip Sherburne.

A few months ago, we launched the Pitchfork Request Line, asking listeners to call in with requests for music to soundtrack whatever is going on in their lives. On this episode, Pitchfork Editor Puja Patel is answering your requests along with Contributing Editors Rawiya Kameir and Philip Sherburne. They take calls from a midwestern transplant who’s nostalgic for her suburban D.C. hometown, a Mancunian looking to recapture the feeling of his city’s famously vibrant live music scene, and a father who’s teaching his kids music history by way of Willie Nelson. They also discuss the music they’ve been turning to for comfort during a difficult year. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It is the 50th episode of Line Noise. We started in January 2016: David Bowie had just died, we were all depressed and it took Matmos' washing machine to cheer us up. Over the years we have interviewed everyone from Jlin to to Photek. But for our 50th episode we want to ask: What’s the point of Line Noise? What's the point of music journalism as a whole? Can you talk intelligently about electronic music if you don’t go to night clubs? Can you enjoy music for young people if you are the wrong side of 40? Line Noise co-founder Philip Sherburne guests, alongside Ben Cardew and Braqueberry for this special edition. We also play some of the new artists who are exciting us for 2020 and beyond, with music from Mantra, Park Hye Jin, Beatrice Dillon, Velmondo, Yung Prado and Sharda. Track list Mantra - Embers Baltra and Park Hye Jin - Ahead of Time (edit) Beatrice Dillon - Workaround Two Velmondo - A Trenc D'alba Yung Prado - Gente Triste Sharda - Replay

It is the 50th episode of Line Noise. We started in January 2016: David Bowie had just died, we were all depressed and it took Matmos' washing machine to cheer us up. Over the years we have interviewed everyone from Jlin to to Photek. But for our 50th episode we want to ask: What’s the point of Line Noise? What's the point of music journalism as a whole? Can you talk intelligently about electronic music if you don’t go to night clubs? Can you enjoy music for young people if you are the wrong side of 40? Line Noise co-founder Philip Sherburne guests, alongside Ben Cardew and Braqueberry for this special edition. We also play some of the new artists who are exciting us for 2020 and beyond, with music from Mantra, Park Hye Jin, Beatrice Dillon, Velmondo, Yung Prado and Sharda. Track list Mantra- Embers Baltra and Park Hye Jin - Ahead of Time (edit) Beatrice Dillon - Workaround Two Velmondo - A Trenc D'alba Yung Prado - Gente Triste Sharda - Replay

From just outside of Dallas, Texas to the New England Conservatory of Music, all the way back to Portland, Oregon, Mary Sutton visits to talk about the importance of self care, synthesizers, teaching and connecting with others. Mary has contributed to The Women’s Beat League and even garnered praise from names like Brian Eno. 2018’s Deep End on Kranky was a giant start, with reviews from the likes of Philip Sherburne for Pitchfork. Fans are excited about this timeless, emotional, beautiful sound and her superior playing skills.    Intro: Saloli - Deep End - Umbrellas Outro: Saloli - Deep End - Lullaby   https://saloli.bandcamp.com/  

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 22 we round up the best of 2017, from Jlin to Mount Kimbie, Zora Jones to Nabihah Iqbal, Bad Gyal to DJ Python and Equiknoxx to Roma Zuckerman. Part 2 coming soon.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 21 we discuss the new album from Fever Ray, talk The Knife (who Philip once supported in glamorous New York City), argue about Vikings and review new music from Avalon Emerson and Steven Rutter (B12). Ben’s kids also make a fleeting appearance but don’t worry about them.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 20 we talk the art of the remixer, from Prins Thomas to Armand van Helden, ponder the point of remix albums in the light of the new Funkadelic offering, and review music from Joe and Errorsmith. Warning: also contains Aerosmith.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 19 we talk dad house, dad grime, mum techno and dad drum and bass, including a look at the new LCD Soundsystem release. Plus we review new music from DJ Sports and Jack Peoples (James Stinson).

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 18 we discuss the crossover between electronic music and classical, running the rule over Carl Craig’s Versus, examine the weaponised orchestral bombast of Sinjin Hawke’s First Opus and review new music from Slowdive (as remixed by Avalon Emerson) and Sophia Kennedy.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 17, we discuss the health of IDM in 2017, pondering what the term actually means anyway; we talk the joys - or otherwise - of live electronic music; and wonder whether techno can be an effective political tool. Plus we review new music from Perc, Khotin and Candyblasta.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 16, we revisit Philip’s interview with Brian Eno, talking generative music, ambience and politics; dive into songs that feature ping pong balls; and review new music from SMBD, The Juan Maclean, Luke Abbott and Strategy. Plus, which is better: Norwich or Portland?

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 15, we round up the musical highs and lows of 2016, including why the election put us off drones; adventures in US hardcore (25 years later); the point (or otherwise) of year-end lists; Spanish supermarkets and the enduring appeal of Craig David; the Unsound, Primavera and Sónar festivals; our albums of the year (Anohni, David Bowie, Aleksi Perälä, Shy Layers, Floorplan, Suzanne Kraft, Studio OST etc) and our tracks of 2016 (Roman Flügel and Mr. Fingers). Plus, looking forward to 2017.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 14 we talk to Rabit about art, beats and life in Texas post-Trump; we review the Mira festival of music and digital art; preview Primavera Sound and Sónar 2017, and we ponder new music from Nina Kraviz, Georgia, Nathan Fake and Demdike Stare. Plus, discover what music to avoid if Philip is cooking.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode 13 we talk to Don’t DJ about exoticism, authenticity, playing empty turntables and the power of clatter. We also review new music from Blotter Trax, Visible Cloaks and Todd Edwards, discuss anonymity in music and reminisce about Fabric.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode 12 features an interview with electronic music legends Mouse on Mars in which we discuss robotics, Lichter, their iPad instruments, Bon Iver and why The Girl from Ipanema sounds like My Bloody Valentine. We also review new music from Pepe Bradock and Powell. Plus we talk about cheese.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode 11 sees us interview UK techno don Luke Slater on fatherhood, four to the floor, the power of abstract melody and keeping the techno flag flying for 30 years. We also discuss Zomby’s enigmatic but brilliant new album and Powell’s promotional tactics, weigh up the chances of an electroclash revival and review new music from Daniel Lanois and Pedro Vian. Plus, guaranteed: more pedal steel discussion than in any other podcast.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode 10 features an interview with Chicago producer / composer / sound artist Hieroglyphic Being, which touches on Binaural Beats, anxiety, Ancient Egypt and DJing as problem solving. We also discuss the knotty issue of vinyl-only labels and chew over new releases from Mouse on Mars, Bicep, Audion and Cristian Vogel. Plus, an embarrassment of praise for Blaze’s Lovelee Dae.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode nine includes an interview with rising Catalan producer Lloret Salvatge in which we cover everything from megalithic culture to British stag parties. Plus we discuss the new Aphex Twin EP, Cheetah, Philip tells us about his interview with Aphex video director Ryan Wyer; we reveal the music that gives us goosebumps; reminisce over Fridge and review new releases from Hieroglyphic Being, Robyn, The Orb and Tangents.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode eight sees us visit the Sónar Barcelona offices to talk to festival co-director Enric Palau about the past, present and future of the “advanced music festival”, including the most techno dinner ever, PXXR GVNG and the decision to book Skrillex. We also ask: has Joakim made actual Tropical House? And chew over new releases from Anohni, Harald Björk, LMYE and Clatterbox.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode seven is something of an Olga Bell special: she joins us to talk about her new album, late-stage capitalism, Scatman John, Todd Edwards and transcribing 2 Bad Mice by hand, as well as revealing some of her favourite new music. We discuss new releases from Aleksi Perälä (and his Colundi Sequence), Desiigner, Lone and Christian Naujoks. Plus we trawl the mental archives to reveal how we got into electronic music in the first place.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode six includes an interview with Ash Koosha about VR and music, we discuss the influence of Prince on electronic music, rounding up some of the best remixes and re-edits of his work (including what may well be a Daft Punk remix of Raspberry Beret), and chew over new releases from Kilchhofer, Floorplan, Beatrice Dillon, DVA and Max Graef & Glenn Astro. Plus, discover why Philip liked to sniff cassette cases back in eight grade. Photo credit: Ozge Cone

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode five features two very special guests in the form of JLin and Zora Jones. JLin tells us about her relationship with footwork, playing live and her forthcoming second album, while Zora Jones talks about Fractal Fantasy, her love for Rashad and working with JLin (we have an exclusive play of their Dark Matter collaboration). We discuss Barcelona’s Lapsus festival, which hosted Lotic, Powell, Donnacha Costello and more, and there’s new music from Gnork, Midland, Shinichiro Yokota and Forest Drive West.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. Episode four comes to you live from the first Barcelona independent label market, as we examine some of our favourite Barcelona labels, including interviews with Hivern’s John Talabot, Pau Roca from Black Money Records, bRUNA from Lapsus, Pedro Vian from Modern Obscure Music and Luca Lozano from Berlin’s Klasse Recordings. We also discuss new releases from Hessle Audio’s Ploy, Dean Blunt (as Babyfather), Ex-Terrestrial and Mark Pritchard, plus you can find out why Kevin Shields is “the shoegaze Pitbull”.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode three we consider the influence of electronic music on Kanye West’s production, ponder the enigma that is Jean-Michel Jarre ahead of the release of Electronica Volume 2 and his Sónar festival appearance, look ahead to Mutek Barcelona and talk about new music from Dorisburg, Karl Bartos, Dura and Darq E Freaker. Plus a laser harp.

Line Noise is a podcast about electronic music from Philip Sherburne and Ben Cardew. In episode two, we talk to Grey Filastine about DJing in the Calais Jungle and his sonic activism, we discuss the crossover between shoegazing and IDM, we chew over the new mix CD from Moodymann - and mix CDs in general - and we talk about our favourite new music, including tracks from Grammy nominee CFCF, an exclusive from Zora Jones, Cavern Of Anti-Matter and Throwing Shade.

Line Noise, a podcast about electronic music, with Philip Sherburne and Ben Cardew. In episode one we discuss Matmos, David Bowie, Mr Fingers, Fatima Al Qadiri, Max D, Surgeon, Tarquin and Prins Thomas. Plus laundry with Björk.

Jim and Greg explore the growing genre of Electronic Dance Music and the new rave generation with writer Philip Sherburne. Then they review "Not Your Kind of People," the first new album from Garbage in seven years.

Welcome to the Coconut show 2006... Senor Coconut and his Orchestra release a new album called Yellow Fever! This is an interview with Senor Coconut by Philip Sherburne, Santiago (Chile), April 1st 2006, http://www.philipsherburne.com

Welcome to the Coconut show 2006... Senor Coconut and his Orchestra release a new album called Yellow Fever! This is an interview with Senor Coconut by Philip Sherburne, Santiago (Chile), April 1st 2006, http://www.philipsherburne.com