Articles
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2 days ago |
futurismrestated.substack.com | Philip Sherburne
Drew Lustman is feeling energized. It wasn’t always thus; there was a moment, around 2017—exactly a decade after his first EPs—that he was considering walking away from music. He’d finished his contract with Ninja Tune and was tiring of the touring grind.
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1 week ago |
futurismrestated.substack.com | Philip Sherburne
I rarely run themed issues, but by great coincidence, sifting through my virtual promo pile this week revealed an unexpected bounty of ambient music from Latin America. New albums from Concepción Huerta, Colombian Drone Mafia + Gibrana Cervantes, Matt Emen, and Ezmeralda all tackle an overlapping set of sounds, ideas, and moods, yet the results are fascinatingly diverse.
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2 weeks ago |
futurismrestated.substack.com | Philip Sherburne
This Friday, Kompakt marks a significant milestone: the 500th release in the Cologne label’s catalog. Few imprints ever make it that far into the triple digits, and Kompakt is celebrating the occasion with all the pomp you’d expect: Kompakt 500 takes the form of a 5xLP release accompanied by a bonus 10-inch and a book documenting the label’s visual side (the release is also available as a 3xCD). An accompanying exhibition at the Kölnisher Kunstverein will be on view through July 20.
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3 weeks ago |
futurismrestated.substack.com | Philip Sherburne
With all the interviews of the past month—critic Ben Ratliff on his new book Run the Song, composer Rebekka Karijord on climate grief, Muscut’s Nikolaienko on boycotting U.S. platforms and closing down his label, Anthony Naples on the creative reset behind his new album Scanners, and Facta & K-LONE on the Widsom Teeth label’s pivot to minimal house—I’ve fallen behind in reviewing new releases, so today I’m playing catch-up.
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3 weeks ago |
futurismrestated.substack.com | Philip Sherburne
When I recently reviewedJorg Kuning’s excellent new mini-album Elvers Pass for Pitchfork, I had an intense moment of deja vu—followed by an equally intense feeling of self-doubt. As I had gotten to know the album, I couldn’t help but be reminded of the minimal house of the late ’90s and early ’00s. Kuning’s record has a similarly fine-tuned sense of sound design, with lithe, blippy tones tracing curlicues against a backdrop of empty space.
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