Autechre to host internet radio show

Electronic music behemoths Autechre will host a live internet radio show on February 23.

It will be streamed via the website autechre.ws from 8pm GMT.

The show will take place on the last Saturday before the start of the world tour on February 29 and the physical release of the duo’s 9th album Quaristice on March 3.

Rob Brown and Sean Booth’s latest release was made available worldwide for download on Warp Record’s digital music service Bleep today.

The MP3 version costs £6.99 and the increased quality FLAC version is available for £8.99.

A limited edition of the physical release has been announced.

It will feature a bonus CD with 11 different versions of selected tracks from Quaristice, special packaging and is limited to 1000 copies worldwide.

Warpmart are taking pre-orders for the regular CD and limited edition 2CD now.

Tickets for live dates are available now and more information about the world tour can be found at autechre.ws.

Memorable experience 2: Deus Ex

There is no way I could post a series of memorable experience features and not include one for my favourite game of all time. Not only that, but Deus Ex probably has the most memorable soundtrack for a game I’ve heard, with tracks such as UNATCO (embedded below) bordering on beautiful and conjuring up thoughts of joyously playing the game almost eight years ago. It is for this reason that I feel obliged to bend the rules of the Extreme Electronic Experience and advise you to turn off your play list for at least some parts of the game, which is exactly what I did.

When reminiscing about Deus Ex, it is more often than not the UNATCO headquarters which first springs to mind. This is a part of the game that had no combat (at least during your first few visits) but was utterly engrossing and downright fun to explore.

The opening level Liberty Island was easy, but stands out as a highlight because it plays like a sandbox, with the open spaces and unsuspecting enemies allowing me to realise the awesome scope of the games combat and interactivity in the coolest of settings. The other two parts of the game I remember equally as fondly are Hell’s Kitchen and Hong Kong. Like UNATCO, these are the areas with the most interactivity and depth. For me, exploring the games nightclubs, hospitals and hotels had a much greater fun factor than the military bases of the later levels.

Game review: Bioshock

“Is a man not entitled to the sweat of his own brow? No, says the man in Washington. It belongs to the poor. No, says the man in the Vatican. It belongs to God. No, says the man in Moscow. It belongs to everyone. I rejected those answers. Instead, I chose something different. I chose the impossible. I chose Rapture.”

Spine-tingling words from the ruler of the underwater city of Rapture (Bioshock’s game world) Andrew Ryan, whose presence is just one of many exhilarating elements of what adds up to one of the best shooters of all time. Not only is this true, but the scope for musical compatibility with Bioshock is astronomical thanks to its glorious art deco backdrops and dark gameplay.

There’s little left to say about the game itself which hasn’t already been said, but the great amount of joy I took in mixing and matching different styles of electronic music with Bioshock’s awe-inspiring settings is worth recalling.

A variety of ambient, minimal and ambient techno, electro and experimental electronic music all seemed to stylishly enhance the already extensive immersion and trepidation. Check my ‘Recommended game and music combinations’ article to find out what I chose as the ultimate harmonies.

Bioshock is the spiritual successor to the legendary System Shock 2, and fortunately the game bears much resemblance to the ageing masterpiece. The RPG elements have been effortlessly implemented and set the game apart from standard shooters. Hacking, weapon upgrades, buying – they’re all present and correct, along with the excellent plasmid system, which adds a new dimension to the gameplay.

The solid range of weaponry and intimidating enemies (including the mighty Big Daddies that spearheaded the games promotion) ensure that combat is very good, if not revolutionary. The games environments are beautifully inventive, interactive and wonderfully realised by the lush graphics engine. Despite this depth, Bioshock retains a gleaming polish throughout.

So you simply must play this; it’s one of the greatest single-player experiences ever and a goldmine for the Extreme Electronic Experience.

10/10

Memorable experience 1: Portal

Although I had witnessed the intense media coverage and hype that surrounded Portal prior it its release, I genuinely did not know what to expect from the game. When I finally played it through, I was at first sceptical of its tutorial-style nature, which lasted until the final level, however it did not take me long to realise I was enjoying a fascinating, hilarious and truly memorable (albeit extremely short) experience.

Portal is not strictly a shooter because there is no actual combat in the game, however it is first person and the player does have the portal gun. The atmosphere is very cold and sparse, and the surroundings are extremely minimalist and bland, consisting of mostly greys and whites.

Working my way through the delicately planned puzzles was a joy, and with the sarcastic computerised assistant Glados making this one of the funniest games I have ever played, it is essential the games own sounds are not sacrificed completely for music.

The showdown with Glados is the part that will live in the memory. I gradually destroyed her devices while her taunts turned to pleading. When it came to incinerating the last competent, I ran the countdown timer extremely close as my choice of music (see 'Recommended game and music combinations (Part 2)') continued to build up a sense of dread and paranoia. Glados’ song in the credits, ‘Still Alive’, caps off an ingenious and faultlessly executed creation wonderfully.

The battle with Glados

Is IDM dead?

IDM. Intelligent Dance Music. A genre name as absurd as the music is, or at least was, brilliant. It is, or at least was, often heavily disputed what actually constitutes IDM. The fundamental reason for this being that where techno music has its 4/4 beats and drum & bass has its fast tempo broken beat drums and bass lines, IDM did not originally have its own established and recognisable conventions. There is now deliberation about why the genre was invented at all and much criticism surrounding the use of the word intelligent. The term was born out a seemingly necessary desire to lump ground-breaking artists in the late ‘80s and early ‘90s into the same category. Musicians such as Aphex Twin, Orbital, Future Sound of London and Black Dog were breaking free from the restrictive rules of existing genres. It was not until 1992 that electronic music behemoths Warp Records released their influential Artificial Intelligence series that the term was truly coined, via the tags electronic listening music and intelligent techno. At the time, IDM was considered to be only for pretentious electronic music fanatics, or the male techno elite and IDM musicians were trying to detach themselves from the techno movement.

I approached Thaddeus Hermann, owner of Berlin’s City Centre Offices label, and Gabe Koch, owner of Merck Records (two of the most successful IDM labels of recent times) to discover the thoughts of those closely associated with the term.

He said: “Somehow the term made it into the mainstream media and it turned into a description for anything without 4/4 rhythms. This is when it got bad.”

Koch added: “It’s simply a term to describe a vague categorization of music. We all need terms like that so that we can talk about and relate music to other people.”

Further use of the idiom was initiated online with the conception of the IDM mailing list in 1993, which functioned as a forum for discussion on leading IDM artists and Artificial Intelligence. Incidentally, when I questioned Mike Paradinas (µ-Ziq) on his feelings towards the term, he bluntly answered: “No one uses or used it in UK. Only Americans ever used the term. It was invented by Alan Parry who set up the IDM mailing list.”

Use of the term, the popularity of the artists and the fertility of the scene began to soar in the mid-90s. Warp Records artists such as Aphex Twin, Autechre, Boards of Canada, Squarepusher, Plaid and Rephlex artists such as Cylob and µ-Ziq became the most distinguished IDM artists, consistently releasing critically acclaimed and cutting-edge music while simultaneously remaining in the background due to lack of mainstream appeal. In the mean time, charting artists such as Orbital and The Orb who had previously been known as IDM were shipped to the Electronica moniker alongside The Prodigy and The Chemical Brothers, a term created by the American media to categorise the most famous electronic musicians.

Between the mid to late ‘90s, the second wave of acclaimed IDM artists emerged. This included artists from Planet Mu such as Luke Vibert and Jega, Skam artists such as Bola and Gescom while Warp and Rephlex also revitalised their rosters with names like Mira Calix, Bochum Welt and Bogdan Raczynski. Meanwhile, other labels had taken notice of the blossoming IDM scene and thus artists such as Amon Tobin and Mouse on Mars became respected names in the field.

At the turn on the century, new IDM labels and their musicians began to garner great respect. These included Merck (Proem, Lackluster) and City Centre Offices (Arovane, Ulrich Schnauss). Despite this surge the early pioneers of the genre continued to produce the most ground-breaking and commended records. A particularly significant player who also began to build a strong reputation around 2000 was the irrepressible Venetian Snares, whose breath of fresh air was enough to ensure that he is now regarded among the biggest names in IDM.

The third and current wave of IDM artists began to appear around 2004. By now, the genre had developed and morphed to the extent that the sound of the music and the market had formed its own conventions.

Herrmann said: “I think the problem was that everybody had a clear idea of what IDM was supposed to be. Processed beats and experimental sounds maybe made more accessible with some warm melodies. People got bored of it pretty soon.”

The conventions are evident in the work of all of the most prominent names of the third wave, including Kettel, Ochre, Marumari, and Wisp and have been picked up the majority of the second-wavers. Whereas the music used to be ground-breaking, the third wave artists seem to have a distinctly uniform style and the genre has become oversaturated.

Herrmann said: “There have always been great tracks around but the trademark sounds got horribly overused and became redundant. There was a huge wave of new record labels releasing mainly mediocre tracks, killing the fact that there was this new music around instantly. So IDM, originally a term for “intelligent dance music,” turned into something else.”

Therefore, it is worth pondering whether the current sound of IDM warrants its tag. It is arguable that any intelligence has vanished with the safety of the conventions and lack of originality. And whereas IDM was always considered to be at best difficult to dance to in the early days, the current sound surely does not constitute dance music at all. So to answer the question ‘Is IDM dead?’ would demand considering whether IDM as a name has lost all meaning, or whether the music itself has lost all life. First it must be debated whether the term should have been created in the first place or at least have been allowed to survive. Much criticism has been leveled at it in the past by artists and journalists operating in the field.

Herrmann said: “Nowadays, I do not like the sound of the term. Whenever someone mentions it, or uses it to describe their own music, I immediately become skeptical, expecting weak and boring tracks.”

In 1997 Aphex Twin said: "It's basically saying 'this is intelligent and everything else is stupid.' It's really nasty to everyone else's music.”

Kid 606, another well known IDM artist, has said: "I hate IDM and its elitist champions. It makes the music sound so much more than it actually is.”

And Cylob said: “Anyone who applies the term IDM to my music deserves to be shot."

It is clear what has happened is that the moniker IDM in its original form is now redundant and scoffed at, however the second and third waves of artists that held the torch lit by Aphex and Autechre are now officially recognised as belonging to the genre of IDM, and that is not going to change for the foreseeable future.

Herrmann said: “The term is dead, but there is still great music out there which would theoretically fit the term. And of course, some key players in the game continue to produce music and naturally evolve their vision. A lot of things have happened since the high times of the term. Record sales crashed, labels closed down and most importantly, new trends, such as acoustic sounds, influenced the former strictly electronic sounds. This changed the music and direction of the genre before media understood it.”

In terms of the music’s liveliness, the popularity and excitement surrounding the current crop of names in the field is significantly lower than it was with the second and, much more so, the first wave. In fact, bar a handful of exceptions, the original pioneers still reign supreme and produce the most inventive music. Nevertheless, there are still good quality IDM records being produced that merit applause despite their lack of originality.

Koch said: “The 'sound' established so many years back has been run through the works, and come out mostly mapped and explored. A lot of people listened to the early stuff and recreated their own versions, much of which was less than interesting. Do I still listen to tons of IDM? Of course. But it’s not generally a genre that much new music is being created in that people are interested in. I still use the term now and again, and I don't get offended by people using it.”

So, IDM as we knew it is a distant memory, with reminders from the big names now depressingly infrequent, however IDM as we now know it is very much alive, albeit in a less influential and popular, but still respectable form. IDM is dead, long live IDM?

What is Gescom?

Electronic musicians are infamous for burying their projects in a deep burrow of conjecture and mystery, and there are few more enigmatic guises than Gescom. Much like the recent The Tuss records on Richard D. James’ Rephlex Records, there is an abundance of conspiracy theories that deliberate the pseudonyms veracity. However, whereas The Tuss’ work is accredited to a (probably fabricated) Brian and Karen Tregaskin, but is widely suspected to be the creation of Richard D. James himself, Gescom’s roster, which varies from release to release and track to track, has been partially disclosed. Yet it is believed the majority of the contributions remain unaccredited, leaving the door wide open for followers of the project to speculate to their heart’s desire. If the past is anything to go by, that is exactly what electronic music fanboys do best. Rumours pondering whether Gescom is an abbreviation are also rife, with Gestalt Communications being the most frequent suggestion. Additional incongruous allusions include Global Enterprise Communication Systems, and Global Engineering Systems Components.

The Gescom moniker is often mistakenly recognised as merely being Autechre’s more dance-friendly and approachable side-project. This perception is as misguided in terms of the actuality of who is involved as it is absurd in terms of the often non-dance-friendliness and experimental nature of the music. However, there have been releases under the alias which were accredited as being produced solely by Autechre. The duo, which consists of Rob Brown and Sean Booth, are documented as being among most exceptional and important innovators in the field of electronic music.

The Autechre FAQ, a Q&A which attempted to settle the whirlwind of conjecture surrounding the pair, says: “Sean Booth calls it an 'umbrella-project'. The whole Gescom crew consists of almost 20 people.” Despite this, the only other confirmed contributors are Andy Maddocks (Sonic Beat Alliance and one half of Meam), Darrel Fitton (most prominently known as Bola and to a lesser scale Jello), Mike Williamson (Made), Rob Hall (Ad Vanz) and Russell Haswell.

The release of Gescom’s new mini-album, A1-D1 (the first new material in four years), has in some cases been met by electronic music fanatics with more interest about who was involved with the production than the music itself, which incidentally sounds so convoluted for the most part as to mirror the confusion surrounding its creators.

While scouring through discussion about A1-D1 on the popular electronic music forum Xltronic, notable comments included: “I’m a little surprised there has been so little reaction to the music itself” and “I couldn’t see Sean and Rob putting their name to this, it sounds like shit. Let's hope some other anonymous loser did the other tracks”.

Gescom has released material on SKAM, Warp Records, Clear, OR, FatCat Records and Source Records and has been active since 1994, the year which saw the release of the Gescom EP and Motor. The former was accredited to Rob Booth, Sean Brown, Darrel Fitton and Rob Hall, as well as an unidentifiable entity called Daniel 72. The latter remains unaccounted for. In 1995 and 1996 four more 12”s were issued. These were C&D (Andy Maddocks and Autechre), The Sounds of Machines Our Parents Used (unknown), Key Nell (unknown) and Key Nell Remixes (remixes by Autechre). 1998 saw the release of Minidisc (supposedly the first ever Minidisc-only release) which was unaccounted for, but suspiciously released on Russell Haswell’s OR label. Also released in this year were the This and That 12”s, which are unaccredited but again feature remixes accredited to Autechre among others. There was then to be a five year hiatus until 2003’s ISS:SA was released, again unaccounted for, as is the latest release A1-D1, which surfaced on 22^nd October this year. Gescom has also produced remixes for Marco Passarani, Push Button Objects, Man Parrish and Hecker (an electro-acoustic musician who is closely related to Russell Haswell).

So, the question that predominantly remains is who else is involved with Gescom and which releases are they involved with?

A quick e-mail to SKAM revealed zilch, with the response from the label’s establisher Andy Maddocks being: “I’m afraid nothing shall pass these lips.”

One method of speculating is by comparing conceivable contributors’ music to Gescom’s music. The style of the releases has varied wildly, from the superb formulaic IDM of Key Nell to the heavily experimental bleeps and clicks of Minidisc. Autechre’s influence is blatantly evident in most of the tracks; therefore it is probable the electronic music behemoths provide at least a helping hand in all of the releases. It is feasible that there are contributions from Autechre’s Warp Records label mates such as Plaid within the more formulaic tracks. The intense sounds of ISS:SA and A1-D1 easily suggest that SKAM label mates such as the magnificent Team Doyobi participated. And it wouldn’t be a surprise to discover that an electro artist such as Drexciya took part in the creation of The Sounds of Machines Our Parents Used. The guessing game could go on and on. Oh and by the way, any murmur that the mighty Richard D. James is connected with the project has been hastily met with dismissal.

Gescom will continue to exist as a stage for an unknown number of artists to anonymously work in an unknown number of combinations. Is the assurance of anonymity an incentive for participants to take more risks with the music while ensuring the reputation of their main projects remain intact, hence the heavy experimentalism? Perhaps. One almost unanimous detail is that the music has been consistently excellent, and providing that continues, it should not matter who is responsible for its creation.

Music review: Cristian Vogel - The Never Engine

For me, Cristian Vogel has always been one of the more interesting techno musicians and I approach his releases with optimism. His style is unique and detached from the typical techno sound. The Never Engine is Vogel’s second album of 2007 after August’s Music for the Creations of Gilles Jobin, a highly experimental non-techno release on his own Station 55 Records. He returns to Tresor after a five year absence with what is among the most accessible techno in his discography, which came as a surprise considering that Vogel’s concept for the album is bordering on nonsensical.

Following complex explanation surrounding “interpolation between data-states” and an “engine code-named the Xpute” we are told this is the “first chapter documenting the sonic results of concentrated research and development into what could be one of the more important steps into orgone -driven electronic music.” The chances are you, like me, will be in the vast majority who do not understand and quite frankly do not care for Vogel’s methodology and are more interested in the quality of the product. What we have then is eleven slices of experimental techno that are as much dance floor material as they are headphone material.

The tracks follow somewhat formulaic foundations – fascinating, often stomping, beatwork, accompanied by deep basslines and bleeps. A casual listen might reveal bare-sounding tracks with a lack of variation throughout, however it is these factors that contribute to what can be an enthralling listen. Raw austerity and provocations of intense paranoia are rarely conjured up so convincingly. It is difficult to identify tracks as highlights from such a solid and similar sounding bunch. "XPUTE theWoopWoop" is based around a simplistic hook which somehow manages to sound phenomenal. "rogue PROTOCHI" and "PROTOCHI rearMount" take this a step further by adding eerie underlying drones to the stark and driving rhythms. "SKX engineUnderwraps" almost gives the impression of Vogel’s mysterious Never Engine crashing, as the track becomes disjointed before the beats are replaced by abrasive noise for the last few minutes. The two variants of "BOPX_BOCX" are the grooviest tracks on the album. They are more laid-back and glitchy with emerging basslines that go beyond the extreme simplicity of the other tracks. The closer "PERCOL ecoDrive" is similar to "XPUTE theWoopWoop" in concept and almost as awesome.

Vogel has reported “further massive refinements to these so-called 'NeverEngines' which will emerge from Station 55 as soon as they are fit for human consumption." So expect follow-ups to this brand of conceptual gibberish and hugely absorbing techno music.

Music review: Gescom - A1-D1

The elusive Gescom project has resurfaced with its first new material in four years. A1-D1 is a six track mini-album available on CD, and in two parts as A1-B1 and C1-D1 on 12” vinyl. As has been a factor in the past, there is much attention placed on exactly who produced the music. Naturally, there are no accreditation's, with only Booth and Brown’s participation presumed.

A1-D1 is an extremely intense, convoluted and dense listen, however it inexplicably retains a distinctive stench of old-school. This is due to the unexpected assortment of samples exploited within the tracks. The blend of abstract and more conventional sounds is generally used to good effect.

The standout tracks are "A1" and "C1." The former is based around an insanely catchy fast-edit arrangement, which chops up and deteriorates accordingly. The latter contains an achingly beautiful melody, which is progressively concealed within a coating of complex beats and layers.

"A2" is a magnificent acid track which is easily the most straight-forward and conventional track on the mini-album. "B1" is a strong track which uses various samples accompanied by elaborate beat manipulation. "C2" is an electro-acoustic piece which sounds suspiciously as if previously acknowledged contributor Russell Haswell got in on the action. The last minute or so of this track, it is worth noting, is a snarled joy. The immense "D1" is a nine minute long mash up of Adonis’ classic acid track "No Way Back." As awesome as the rehash is, there is a feeling that sampling should not become the focal point as it is here, as Gescom is capable of much more, which it proves with the other sample-heavy tracks on the record.

In hindsight, the style of Gescom’s releases has often provided a glimpse of what is in store for the subsequent Autechre release. This notion corroborates with the similarities between Gescom’s EP ISS:SA and Autechre’s album Draft 7.30 in 2003 and to a lesser degree Gescom’s Key Nell EP and parts of Autechre’s Chiastic Slide in 1996 and 1997 respectively. If A1-D1 is indeed a taster for Autechre’s next release, it seems Booth and Brown should prepare for a mixed reception comparable to what 2005’s Untilted received. Zealous Gescom and Autechre fans will undoubtedly lap this up and hesitant followers will gradually comprehend its intricate allure, however this is probably not a great starting point for those new to the enigmatic project. If you haven’t already, check out Key Nell, ISS:SA and The Sounds of Machines Our Parents Used before you approach this.

Music review: Venetian Snares - My Downfall (Original Soundtrack)

The joyfully/irritatingly (delete as applicable) prolific producer has made a typically swift return after March’s Pink + Green and June’s Sabbath Dubs with the release of his second classically-inspired album. My Downfall is the spiritual successor to 2005’s excellent Rossz Csillag Alatt Született, which is probably Aaron Funk’s most acclaimed work. This, on the other hand, is a release that is undeniably good, but nevertheless ranks alongside his more forgettable work.

The central reason for this being that the usual mind-blowing breakcore has been omitted from all but four of the 14 tracks. Even when the beats do make a more than welcome appearance, the memorable moments that were so abundant in Rossz are intermittent at best.

Perhaps the most satisfying factor of My Downfall is the dark and sinister feel that the music captures. The brilliantly executed orchestral instrumentation is often haunting and bleak. This is most conspicuously noticeable on tracks such as "Colourless and If I Could Say If I Love You." Another highlight is the sound of the elegantly plucked strings in "I’m Sorry I Failed You." Less remarkable tracks include the four "Holló Utca’s, "which are ultimately somewhat feeble, and the Satie-esque "Mentioning It."

The finest of the four naturally excellent breakcore tracks comes in the form of "My Half," its splendid melodies and vigorous Amens work towards an epic climax. "My Crutch" and "The Hopeless Pursuit Of Remission" are worthy additions to Funk’s snowballing catalogue of breakcore productions. It is only "Integraation" of the four which comes close to being spoilt by a slightly overwhelming hoover.

If you preferred the more tranquil moments of Rossz to the chaotic breakcore sections, then the chances are you will enjoy this. If not, you may be left feeling short-changed. Either way, this album is not the triumph that Rossz was.

The truth about electronic music and it's future

What would be the first thing that came to your mind if I mentioned dance music? Depending on your age and musical conditioning, the answers could range from anything to one of ABBA’s more upbeat numbers to a techno anthem that is currently doing its rounds in the clubbing scene. However, how would this change if I was to utter the phrase electronic music? Sure, a majority would go blank. Most of the others would think Chemical Brothers, Daft Punk, Kraftwerk to name but a few. And the minority left would bark out a barrage of names such as Aphex Twin, Autechre and Venetian Snares with pretentious glee. Who? I hear you ask. Fearless and challenging pioneers of a generation, the fanboys would have you know. These names may not have the stadium-filling abilities of Fatboy Slim, but the critical acclaim is there for all to see.

It’s time to find out who is really driving electronic music forward and which artists are getting the most recognition by fans and critics. Everyone knows that trance music died around the time of the millennium. It is no longer the major force it once was, and many top trance DJ’s realised this and moved on. The reason it’s not still as popular today is because the limits of the genre meant that producers hit a brick wall. Everything had been done. The genre had been “nailed”. This meant that two genres that had taken a back seat to trance were able to blossom in the early noughties. House and techno are now the recognised genres in mainstream electronic music. This summer in particular saw a surge in successful techno-house hybrid tracks. As I write this, the second biggest dance tune of the summer, Fedde Le Grand – Put Your Hands Up For Detroit, lies fourth in the Official Top 40. Despite the mainstream acceptance of these three types of electronic music, the talent of their most respected DJ’s must be questioned. The 4/4 beat that is the signature of almost all of the tracks now sounds tired to many listeners who are in search of something edgier. An exception can be made for a certain type of techno music. This is minimal techno, or less commonly, microhouse. While some are sceptical, there’s no denying that some fascinatingly unconventional sounds are emerging from this fairly new subgenre, especially from gurus such as Ricardo Villalobos and Richie Hawtin.

While a small amount of techno and house producers continue to keep the music sounding fresh, there is an underground community that is constantly breaking boundaries and conventions. The fan base has been understandably limited to those with an open mind throughout its lifespan; however there have been certain artists who have become huge. Most readers will not be familiar with this type of music, and would more than likely be horrified if they heard something at the extreme end of its spectrum. The music is most commonly referred to as Electronica. This word is a product of the American media and should not be used at all. Instead, it is experimental electronic music, ambient music or increasingly IDM (intelligent dance music). These are descriptive names. The first two give the listener an idea of what to expect, but IDM is possibly the most absurd genre name in the history of music. It is often debatable whether the music is intelligent, whether it is danceable and there have been occasions whether the tag ‘music’ is deserved. A healthy number of artists that produce this music have acquired a mainstream audience. Brian Eno and Kraftwerk were and still are household names for creating ambient and electro respectively in the 70s. More recently Air, Röyksopp and Moby are among the artists who have become famous for their brand of “chillout” music. The more experimental side, and arguably more ground breaking, has seen artists such as Aphex Twin, Squarepusher and Boards of Canada acquire a less significant mainstream fan base. Despite this, the examples above are among the many artists who have sparked the most curiosity and acclaim among music critics, especially in the past few years.

It’s been established for some time that critics are not blinded by the most popular trends and know how to judge electronic music, but what about listeners? I decided to peek into the world of Last.fm, a thriving music community on the internet, which tracks members listening habits for others to view, to get an insight. Winners of the Best Music Community award in the BT Digital Music Awards 2006, the expanding project is providing increasingly accurate figures on exactly how popular any given artist or track is at the time. The charts make for very interesting reading. And they are almost completely incomparable to the top 40. These are figures that have been unattainable until the birth of Last.fm, and they reveal information that is surprising to say the least. For example, Aphex Twin is in 150^th position in the artists chart, hovering just above the likes of Elton John, Bob Marley and, yes, Fatboy Slim. Casual music fans would see this as an anomaly, but those ‘in the know’ would almost expect him to be commanding this kind of position. Boards of Canada, another massively respected IDM act, pop up at 211, sandwiched between Elvis Presley and Kasabian.

The top of the charts are more predictable and annoyingly rarely budge from week to week. The top 10 consists of sickly pop acts such as Green Day, Coldplay and The Killers. It’s then quite a way down until the first strictly electronic act appears. In fact, it’s not until number 78 that mainstream electronic artists Air, The Prodigy and Daft Punk appear in a cluster. It’s like waiting for a bus. Many will argue that the reason these artists can reach such lofty heights is because the majority of Last.fm users are nerdy shut-ins, and they are probably right, but how will the charts change when Last.fm inevitably and deservedly gains a varied mainstream audience?

If underground electronic music artists continue to put out fresh and challenging records, there is no doubt we’ll see new mainstream success stories, like Röyksopp and Daft Punk, but despite major support from music critics, there is little chance you will see five or six electronic albums in the charts at the same time for many years to come.

How has the internet changed electronic music?

The thought of buying a record from a high street record shop is now alien to many people. Being an electronic music enthusiast, the methods I use to hear about the latest must-have and getting my grubby mitts on a copy have changed drastically in the past couple of years.

Firstly, the emergence of ‘net labels’ has meant that artists who wouldn’t have had a chance before can now reach the hordes of electronic music fans who now use the web as their main source of finding out about the music they love. Because these online-only organisations do not charge for their releases, they are becoming increasingly popular, and have provided a gateway for artists to go on to bigger things. Well-liked labels such as Merck have been known to pluck artists from net labels. The ability to release music in this way also means that there is more electronic music being produced at the moment than there ever has been, which can’t be a bad thing for fans.

When recently faced with the dilemma of deciding whether or not to fork out precious sterling for a shiny CD version of Squarepusher’s latest effort, I opted instead to pay a reduced price for the digital version from an MP3 website.

If you plan to stay on the right side of the law, which I must responsibly recommend, buying MP3’s legally is now easier than ever, and a number of labels and online record stores now have a dedicated MP3 downloads service.

Bleep, the Warp Records-owned MP3 download site, is currently at the forefront of providing the best new electronic music in digital form, mainly because the influential label has shown the pulling power to lure many of the most popular labels into making their catalogues available for purchase.

The German techno label Kompakt also has its own download site, which is, along with behemoth Beatport, threatening to snatch the crown as the best electronic music MP3 provider, as their rapidly expanding digital stock now even showcases Warp’s back catalogue, while they’ve resisted making theirs available on Bleep.

Trusted music specialist Boomkat has recently launched its own MP3 service. While the amount of music available at the moment looks puny compared to Bleep and Kompakt’s sprawling roster, it will be interesting to follow its expansion and eventual head to head with the giants.

There are pros and cons of choosing MP3s over CDs, with possibly the most substantial pro being the convenience that downloading MP3s offers. However, if you don’t want to make the effort or part with the extra cash for a CD, you miss out on that sensational feeling of a having a brand new physical item, something to hold and the excitement of playing it for the first time. If you use a file-sharing program to download MP3s, you are getting free music, but at the same time you are breaking the law and begrudging the label the money they would have gotten before file-sharing came to prominence, and therefore potentially damaging the quality of their future output. Artists have been quick to make their feelings known on the subject, with Red Hot Chili Peppers’ Flea’s rant particularly memorable. It’s a moral dilemma that consumers must tackle by themselves.

Music review: Mira Calix - Eyes Set Against the Sun

If ever there was an album that is perfectly suited to the BBC’s staggering Planet Earth series, this is it. Mira Calix, aka South African Chantal Passamonte's third full length album for Warp Records majestically combines avant-garde electronic music with field recordings of natural sounds taking place in the forests of Suffolk, where she currently resides.

Eyes Set Against the Sun uses experimental beats much more sparingly than her previous two efforts, One on One and Skimskitta, instead focusing on instrumental melodies, her own vocals and even a school choir alongside such sounds as raindrops falling and leaves rustling. Her music has now developed to the extent that her pieces can now be considered as compositions rather than tracks. Further evidence to highlight her growing involvement with classical music includes the music she was recently commissioned for the Geneva Natural History Museum and her tour with the London Sinfonietta.

Opening piece "Because to Why" is likely to be met with mixed reactions. It begins with the soft sounds of the school choir and is followed by the sound of a meandering violin and eventually a beautifully airy layer. It breaks down, however, into a cluttered and overpowering ending which may leave listeners feeling disappointed. Flawed genius? Perhaps. "The Stockholm Syndrome" steps back into more familiar Calix territory. It is one of only two beat-orientated compositions on the album, and one of the only ones to start as it means to go on. Chantal’s own apathetic singing voice compliments it excellently.

The short-lived "Protean" is among the highlights. This time the field recordings provide an elegant backdrop to the sublime layer that breezes along throughout, rather than acting as interference. The first half of the epic centre-piece "The Way You Are When" consists of delightful plucked strings but unfortunately suffers the same fate as the opener, as it disintegrates into a combination of abrasive industrial sounds and noise.

"Tillsammans" is another brief piece which justifies a lengthened stay with its gentle, plodding glockenspiel melodies. "Umbra/Penumbra" is the other 'beat' piece which offers a glance into the Calix we used to know, being possibly the only longer track which would have sounded at home on her previous albums.

Mira Calix has undeniably unleashed a breath of fresh air on a genre which is struggling to conjure up new and exciting ideas. Time usually spent by most artists polishing productions seems to have been used manufacturing an innocently unfinished and rough feel. Although not without its glaring flaws, the organic, delicate and simply beautiful charms this album offers must not beunder-appreciated.

Music review: Team Doyobi - The Kphanapic Fragments

Alex Peverett and Chris Galdwin now live on opposite sides of the world, but this isn’t getting in the way of their progress. Their third LP, released on the Skam label, is proof enough of this statement. From the off, it is clear that The Kphanapic Fragments has a more focused sound than previous efforts. What were once nuggets of a host of different melodies and rhythms all crammed into the same track on Cryptoburners and Choose Your Own Adventure, are now stretched and given care in terms of mutation and development. Considering the nature of the two albums, The Kphanapic Fragments might have been more aptly named as Choose Your Own Adventure, and vice versa. This makes for a less bumpy ride and a more consistent listen on the whole, however my only gripe with this change in direction is that the element of surprise and the stunning array of tunes on offer before seems to have vanished slightly.

The first two tracks, “Hipatropic Doyobi Drive In Freefall - Dinosaur Green Grass Revisited” and “Dawn of the Apes – Heavy Light Cylinder,” display an ambient side of Team Doyobi that rarely surfaces. They take up half the album, clocking in at over 15 minutes each. Things get kicking with “Metabeast;” a roaring, stomping piece that also wanders from the usual Doyobi sound. “58008” and “Test008” tread more familiar territory, with the zaps and bloops accompanied by delicious mutating melodies. “Mostly Harmless” ends the album on a high, as arguably the most accomplished track they have produced.

Team Doyobi cemented their reputation as a front runner in experimental electronic music when they toured with Autechre in 2001, and this album will do no harm to the Leeds-based duo’s tag as one of the most inventive acts around.

About HECTIC SL

Welcome to the only blog that focuses solely on the activity of playing PC shooter games whilst listening to electronic music.

My name is Adam Winfield. I am a 23 year old PR worker based in London and this is an experience that I have enjoyed passionately with countless combinations over the years that my interest for the two mediums has flourished.

If you have already experienced the chaotic joys of this pastime and want more, this blog will bring you the latest news and reviews on both fields, interviews with those in the know, features on memorable experiences and information on recommended game and music combinations. If not, I hope you are willing to accept the challenge and be sucked into the world of the Extreme Electronic Experience.