A New York student of electronic music influenced by experimentalists John Cage and Terry Riley, Kim Cascone later moved to San Francisco and founded the Silent label. The label was best known for recordings by Cascone projects PGR, Heavenly Music Corporation, Thessalonians and Spice Barons as well as a 1992 tribute to acid named Fifty Years of... [+] Read More

A New York student of electronic music influenced by experimentalists John Cage and Terry Riley, Kim Cascone later moved to San Francisco and founded the Silent label. The label was best known for recordings by Cascone projects PGR, Heavenly Music Corporation, Thessalonians and Spice Barons as well as a 1992 tribute to acid named Fifty Years of Sunshine (featuring Nurse with Wound, Psychic TV, Hawkwind, Timothy Leary). After his frenetic release schedule of the early '90s, Cascone took time out to work as a sound engineer for Thomas Dolby's Headspace studios. He returned to active recording with 1999's Blue Cube, his first album as Kim Cascone. Cathode Flower followed later that same year and was followed in 2001 by Residualism on Ritonell through Mille Plateaux. [See Also: Heavenly Music Corporation, PGR] ~ John Bush, All Music Guide [-] Hide

DJ Spooky (Tha' Subliminal Kid) is the most noted (and notorious) proponent of turntablism, an approach to hip-hop and DJing whose philosophy merges avant-garde theories of musique concrète with the increased devotion paid to mixing techniques during the 1990s. Though he's overly intellectual at times (to the detriment of his recordings,... [+] Read More

DJ Spooky (Tha' Subliminal Kid) is the most noted (and notorious) proponent of turntablism, an approach to hip-hop and DJing whose philosophy merges avant-garde theories of musique concrète with the increased devotion paid to mixing techniques during the 1990s. Though he's overly intellectual at times (to the detriment of his recordings, interviews, and mixing dates), Spooky was a critical figure in spotlighting the DJ as a post-modern poet in his own right. Influenced equally by John Cage and Sun Ra as well as Kool Herc and Grandmaster Flash, few artists did more to mainstream the DJ-as-artist concept than he.

Spooky was born Paul Miller in Washington, D.C. His father was a lawyer and member of the faculty at Howard University but died when Miller was only three. He inherited his father's record collection, which, along with frequent trips around the world (thanks to his mother's international fabric store), opened his eyes to a wide range of music. Growing up in the '80s saw Miller interested in D.C.'s hardcore punk scene and British ska-punk as well as go-go music. While attending college in Maine, Spooky began mixing on his own radio show and attempted to introduce his KRS-One tapes into classroom discussions on deconstruction (an idea made quite conceivable just ten years later). After graduating with degrees in French literature and philosophy, he moved to New York, where he wrote science fiction alongside advertising copy and pursued visual art as well. He was still into hip-hop, however, and formed the underground Soundlab collective (with We, Byzar, Sub Dub, and others), a scene that later morphed into the illbient movement.

After an assortment of singles and EPs during 1994-1995, Spooky gained a record contract from Asphodel in 1996 and released his debut album, Songs of a Dead Dreamer. The single "Galactic Funk" became a hit on the club scene, leading to recording appearances with Arto Lindsay and remixing spots for Metallica, Sublime, Nick Cave, and Spookey Ruben; Spooky also began writing regular journalist columns, for The Village Voice and Vibe. As if that didn't keep him busy, he also released the mix album Necropolis: The Dialogic Project, recorded a Paul D. Miller solo LP titled Viral Sonata, and performed in a new digital version of the Iannis Xenakis composition Kraanerg. His second proper album, 1998's Riddim Warfare, saw Spooky with a cast including disparate indie-world figures from Dr. Octagon to Thurston Moore. He has also mounted visual exhibits at the Whitney Museum in New York and scored the award-winning 1998 film Slam.

One year later, he released File Under Futurism, a co-production with the Freight Elevator Quartet. 2000 saw the release of a collaborative effort with Scanner entitled The Quick and the Dead. The highly praised mix CD Under the Influence appeared the following year, but the next real album to appear from the DJ was 2002's Modern Mantra. That same year, as part of its Blue Series Continuum, Six Degrees released Optometry, a collaboration featuring Spooky with numerous progressive jazz artists such as William Parker and Matthew Shipp. Its remix companion, Dubtometry, appeared early in 2003. In 2004 Spooky teamed with the dub outfit Twilight Circus for Riddim Clash released by Play. The same year he was courted to remix two different label's output. A mix of Sub Rosa material appeared as Rhythm Science in January, and Thirsty Ear gave Spooky access to their Blue Series for Celestial Mechanix, released in June. In 2005, Drums of Death, a collaboration with Slayer and Fantômas drummer Dave Lombardo, came out, followed the next year by DJ Spooky Presents: 50,000 Volts of Trojan Records. ~ John Bush, All Music Guide [-] Hide

Cristian Vogel is one of the foremost names in dance-based experimental techno, releasing a flood of consistently challenging and unconventional techno solo and in collaboration with such noted artists as Dave Clarke, Neil Landstrumm, and Russ Gabriel. Chilean born, Vogel fled with his family to the U.K. in the early '80s to escape the... [+] Read More

Cristian Vogel is one of the foremost names in dance-based experimental techno, releasing a flood of consistently challenging and unconventional techno solo and in collaboration with such noted artists as Dave Clarke, Neil Landstrumm, and Russ Gabriel. Chilean born, Vogel fled with his family to the U.K. in the early '80s to escape the dictatorial regime of General Pinochet.

A childhood spent hacking later combined with an interest in programmable music, which soon branched out to include experimental electronic music, and, eventually, techno. Vogel began experimenting with his own compositions in the late '80s, working with members of the Cabbage Head Collective (which included, among others, Si Begg and members of Germ), whose early self-distributed tape cut-ups contributed much to Vogel's nascent aesthetic. Unlike many of his contemporaries, Vogel's fascination for electronic composition led him in 1992 to study in an academic context, earning a degree in 20th-century music at the University of Sussex in Brighton. Fusing the techniques of earlier Detroit, German, and English innovators with insights gained through active study of composers such as Karlheinz Stockhausen and Brian Eno, the results would often agitate his professors. But Vogel's knack for combining elements of flux and sound collage in a style of music normally concerned with rhythmic conservatism and strict repetition has placed him at the bleeding edge of roots-directed experimental techno.

Vogel's most prolific recording period began during the tail end of his academic career, when some of his studio investigations began leaking into the techno underground. Earning the respect of South Shore DJ/musician/record shop manager Luke Slater, Vogel's name soon made it to the ears of minimalist hardcore producer Dave Clarke, resulting in the massive Infra EP, recorded together at the U. of Sussex studio and released on Clarke's Magnetic North label. Vogel followed on the success of Infra with a pair of EPs in collaboration with Russ Gabriel, released on the latter's Ferox and Berlin labels, before landing recording deals with both Force Inc. and Thomas Heckmann's Trope imprint. In 1994, Vogel released his first full-length work, Beginning to Understand, on Force Inc. subsidiary Mille Plateaux, a focused, full-blown application of Vogel's experimental vision to the tropes of dancefloor techno. Close behind came a double-pack on Tresor (Vogel was the first U.K. artist to be courted by the legendary German label) and collaborations with Neil Landstrumm and Si Begg. In addition to his steady DJ activities, Vogel also releases his own and others' material through two personal labels -- Mosquito and Quinine -- and is often called upon as a remixer. In 1999, Vogel returned to British label shores, signing with NovaMute and releasing Rescate 137 in 2000. ~ Sean Cooper, All Music Guide [-] Hide

Luke Vibert, who had previously provided the links between trip-hop and the intelligent/ambient wing with material recorded as Wagon Christ, did the same to jungle/drum'n'bass with his releases as Plug. During 1995-96, long before notable gear-heads began experimenting with breakbeats, Vibert released three EPs of rangy, schizoid drill'n'bass... [+] Read More

Luke Vibert, who had previously provided the links between trip-hop and the intelligent/ambient wing with material recorded as Wagon Christ, did the same to jungle/drum'n'bass with his releases as Plug. During 1995-96, long before notable gear-heads began experimenting with breakbeats, Vibert released three EPs of rangy, schizoid drill'n'bass for the British label Rising High. Later in 1996, the Plug LP Drum'n'bass for Papa appeared on Blue Planet. One year later, Nothing/Interscope -- the label headed by Nine Inch Nails' Trent Reznor -- gave it an American release and Vibert remixed a NIN single as well. Perhaps fearing a potential breakthrough in the States, Vibert returned to the Wagon Christ alias in 1998. [See Also: Wagon Christ, Luke Vibert] ~ John Bush, All Music Guide [-] Hide

Although Oval are perhaps more well-known for how they make their music than for the music they actually make, the German experimental electronic trio have provided an intriguing update of some elements of avant-garde composition in combination with techniques of digital sound design, resulting in some of the most original, if somewhat... [+] Read More

Although Oval are perhaps more well-known for how they make their music than for the music they actually make, the German experimental electronic trio have provided an intriguing update of some elements of avant-garde composition in combination with techniques of digital sound design, resulting in some of the most original, if somewhat challenging electronic music of the contemporary scene. Originally composed of Markus Popp, Sebastian Oschatz, and Frank Metzger, Oval gradually became the work of just Popp, with Metzger providing most of the visual and design work. The bulk of Popp's work, released through the Force Inc.-related Mille Plateaux label, incorporates elements of what could be described as "prepared compact disc" -- manually marred and scarified CDs played and sampled for the resultant, somewhat randomly patterned rhythmic clicking. Layered together with subtle, sparse melodies and quirky electronics, the results are often as oddly musical as they are just plain odd. Popp brought this approach to bare on the first full-length Oval releases -- Wohnton, Systemische and 94 Diskont -- as well as a number of compilation tracks. Although a rung below marginal in their home country and even more obscure in the States, Oval's remixes of Chicago post-rock group Tortoise brought them in contact with American audiences; both Systemische and 94 Diskont, as well as Markus Popp's work as Microstoria (with Mouse on Mars' Jan St. Werner) were reissued domestically by Thrill Jockey in 1996. One year later, the Dok LP featured Oval's collaboration with Christophe Charles. After 1999's Szenario EP, Popp and co. returned in 2000 with Ovalprocess. ~ Sean Cooper, All Music Guide [-] Hide

Thematically and psychologically similar to The Annihilating Angel (even to the apocalyptic religious imagery of the titles), this CD occasionally looks ahead to Schütze's later work as leader of Phantom City. The title of the CD's longest track is in fact "Topology of a Phantom City," and on this piece, there are strong echoes of the wild... [+] Read More

Thematically and psychologically similar to The Annihilating Angel (even to the apocalyptic religious imagery of the titles), this CD occasionally looks ahead to Schütze's later work as leader of Phantom City. The title of the CD's longest track is in fact "Topology of a Phantom City," and on this piece, there are strong echoes of the wild electric funk of Miles Davis circa 1975, with strong, groove-oriented percussion supporting the broad smears of De Haan's trombone, and Schütze doing some remarkably strange things with his keyboards, producing unearthly (hellish?) and tormented electronic squeals, howls and groans over the heavy, sinister percussion. Several subsequent tracks have a rhythmic foundation, but most are languid and dreamlike, with a dissonant, uneasy quality, often tinged with melancholy, that pushes them toward the realm of nightmare. The music is hauntingly beautiful but without resolution; it projects a feeling of claustrophobia and entrapment, as if there is no escape from the reality which it represents. The final track, "A Soul Reports," simply drifts off into a nothingness of murmurs, whispers, cavernous echoes, muted gongs and icy drones. Schütze enhances the disquieting atmosphere with an impressive background collection of skillfully integrated sound samples -- guttural and/or demented voices, sounds of thunder or earthquake rumbling, dripping water and jets of steam. Call it what you will -- ambient, industrial, gothic funk (it is all of these and more) -- New Maps of Hell is music of great subtlety and power. ~ William Tilland, All Music Guide [-] Hide

Stefan Betke's nine variations on damaged dub minimalism recall the best of Basic Channel techno while steering well clear of the monotony factor. As with Pole's first singles, these tracks materialize out of a haze of stuttering fuzz, bouncing thin shimmers of echoing synth off of ambiguous rhythms and taught, bulging bass. Those who have... [+] Read More

Stefan Betke's nine variations on damaged dub minimalism recall the best of Basic Channel techno while steering well clear of the monotony factor. As with Pole's first singles, these tracks materialize out of a haze of stuttering fuzz, bouncing thin shimmers of echoing synth off of ambiguous rhythms and taught, bulging bass. Those who have followed Betke's Kiff career up the ranks to CD status will be disappointed to see the full contents of his previous 12" Tanzen included here, but it's at least nice to have it all in one place. An excellent debut. ~ Sean Cooper, All Music Guide [-] Hide

If it's not the samples themselves but what you do with them, You Guys Kill Me gets extra points for effort. The beats and effects Matt Elliott concocted aren't incredibly original (there's the sewing-machine Brazilian bossa shuffle and the downbeat from Boogie Down Productions' "Bridge Is Over," along with various effects including howling... [+] Read More

If it's not the samples themselves but what you do with them, You Guys Kill Me gets extra points for effort. The beats and effects Matt Elliott concocted aren't incredibly original (there's the sewing-machine Brazilian bossa shuffle and the downbeat from Boogie Down Productions' "Bridge Is Over," along with various effects including howling dogs, dark crackly strings and metallic), but the slice-and-dice production, along with creative processing, transforms them into revelatory darkside symphonies. Elliott sounds as though he's Ed Rush's indie-rockin' sibling, fooling around with big brother's equipment and crafting a very twisted version of post-rock tech-step reminiscent of Amon Tobin as well as Rome. Strangely, it works. ~ John Bush, All Music Guide [-] Hide

The one-man drum'n'bass outfit Squarepusher (aka Tom Jenkinson) treads upon more unpredictable terrain on Music Is Rotted One Note. Although the album still contains elements of his usual drum'n'bass sound, this is by and large a jazz/fusion affair. Jenkinson does a masterful job playing all the instruments live and by himself, and perfectly... [+] Read More

The one-man drum'n'bass outfit Squarepusher (aka Tom Jenkinson) treads upon more unpredictable terrain on Music Is Rotted One Note. Although the album still contains elements of his usual drum'n'bass sound, this is by and large a jazz/fusion affair. Jenkinson does a masterful job playing all the instruments live and by himself, and perfectly re-creates the funky atmosphere of such early-'70s Miles Davis classics as Get Up With It and On the Corner. Jenkinson's performances throughout the disc are both flawless and inspired -- he obviously realized that if he were to pay tribute to Miles, nothing but the best would do. Davis' spirit lives on in such tracks as "Don't Go Plastic," "Dust Switch," "137 (Rinse)," and "Theme From Vertical Hold," while "My Sound" perfectly captures the essence of Miles' calming and reflective compositions. But don't be misled; this is not a by-the-numbers rip-off of Miles Davis. Jenkinson updates these familiar sounds with '90s recording techniques and injects enough of his own style into the mix to keep it recognizable. Miles would be proud. ~ Greg Prato, All Music Guide [-] Hide

Autechre creates a fascinating sonic world on their fifth album release, where electronic pulses and blips are used to create fantastic textural waves. Members Sean Booth and Rob Brown prove they've become masters of programming throughout, issuing a more than suitable follow-up to their critically praised 1995 release, Tri Repetae++ (1997's... [+] Read More

Autechre creates a fascinating sonic world on their fifth album release, where electronic pulses and blips are used to create fantastic textural waves. Members Sean Booth and Rob Brown prove they've become masters of programming throughout, issuing a more than suitable follow-up to their critically praised 1995 release, Tri Repetae++ (1997's Chiastic Slide wasn't considered a true follow-up by the band). Although it may be hard to take for those uninitiated into Autechre's unique style (it's hard to detect melodies upon first listen), you'll discover something new with each repeated listen. Since all the songs are cut from the same sonic cloth, the album is best when listened to in its entirety, but the tracks "Acroyear2," "Rae," and "Fold4, Wrap5" are definite highlights. Although not for everyone, LP5 should be admired, since it's not comparable to anything past or present. Uncompromisingly cutting-edge. ~ Greg Prato, All Music Guide [-] Hide