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Articles Written by: BRIAN HOWE
The style of ambient techno that Wolfgang Voigt (Gas, Burger/Ink) minted has proved to be massively influential. It gave us the Field, who leans heavily on the techno side of the Gas aesthetic, arranging pithy scraps of musical information into ...
From BRIAN HOWE,
Pitchfork,
5 Mar 2009
Geneviève Castrée, the Québecois expat who records cobwebbed drone-folk as Woelv, and Phil Elvrum, the Microphones maestro whom Castrée moved to the States to marry, seem like a match made in heaven. Both are multimedia aficionados who conflate the ...
From BRIAN HOWE,
Pitchfork,
17 Jul 2008
Comb through A-Trak's bio and a portrait of preternatural technical skill, sly business acumen, and uncommon idealism emerges. He won the DMC World DJ Championships in 1997, at the age of 15, and he would go on to DJ for Kanye West at the height of his ...
From BRIAN HOWE,
Pitchfork,
2 Jul 2008
First, read this sentence: Syclops is a trio featuring Sven Kortehisto, Hanna Sarkari, and Jukka Kantonen, with Maurice Fulton behind the boards. Then, re-read it with scare quotes around everything except Fulton's name, and maybe put scare quotes ...
From BRIAN HOWE,
Pitchfork,
2 Jul 2008
Eliot Lipp released his first album via Prefuse 73's Eastern DeVelopments label, where he was something of an odd man out-- in the context of Dabrye's and Daedalus's herky-jerky, obscurantist electro, his own smooth version seemed especially ...
From BRIAN HOWE,
Pitchfork,
30 Jun 2008
The feeling that the world used to be better, clearer, or more pure has been historically persistent enough to suggest that it's a fundamental part of being human, and it logically encompasses music as well. Arguments against reactionary ideologies ...
From BRIAN HOWE,
Pitchfork,
11 Jun 2008
It's a great coincidence that Thomas Brinkmann's name, minus the "Brink," is identical to that of another magisterial German moralist, as his long career serves as a corrective to the lingering prejudice that techno music is fundamentally hedonistic ...
From BRIAN HOWE,
Pitchfork,
10 Jun 2008
Albums as abstract as Christopher Bissonnette's In Between Words are practically engraved invitations to wax impressionistic, and I admit to filling my notes with unfortunate similes such as "ascending long-tones stacked like an obsidian ziggurat" and ...
From BRIAN HOWE,
Pitchfork,
9 Jun 2008
Ellen Allien has long been branded a minimal techno artist without actually being one in any strict sense. Part of this branding is associative: Her flagship album was named Berlinette, and Allien has flirted aggressively with Berlin minimalism, ...
From BRIAN HOWE,
Pitchfork,
22 May 2008
On their first two LPs, the Berlin-based, Australian expats in Devastations were a powerfully atmospheric yet superficially derivative neo-goth band. They could swoon like Tindersticks, chew scenery like Nick Cave, scrape and seethe like Black Heart ...
From BRIAN HOWE,
Pitchfork,
21 May 2008
