Portland-based producer and musician Natasha Kmeto's third full-length record, 2020’s you’ve never danced alone, is a lighthouse for those who are lost, lonely and stressed on their journey, offering an alchemical perspective of empowerment that stems from undertaking shadow work in uncertain times. Released on Future Archive Recordings....

No one seems to be able to stop talking about Kendrick Lamar this year, and while we are no different from the rest in that regard, we've naturally made the effort, as usual, to put together an Albums of the Year list that is typically unconventional and probably features quite...

SVN SNS RCRDS stands for Seven Sons Records; we're a small independent music label from Paris, France, founded in 2010 by David Gamelin and myself, Alex Poveda. A couple years ago, Thibault Signourel, Editor for the French webzine Hartzine, joined us in the adventure. Originally the label was just supposed...

Natasha Kmeto
A couple years ago, I asked Decibel's founder Sean Horton how he manages to make an appearance at every single one (or almost every one) of the showcases during Decibel Festival. His advice was simple: "Don't drink, don't do drugs, don't eat, DON'T STOP!" While this may indeed work for Sean (is he a robot?!), I am but a mere human and had to abandon at least one of his key tenets (I'll let you use your imagination as to which ones). Overall, I felt like my Decibel Festival 2014 experience was less cohesive than in past years, but that may have just been due to my own headspace; I had a hard time settling for just one showcase each night, so ended up show-hopping far more than I ever have at Decibel. Here are a few of the performances & showcases that stood out. Natasha Kmeto @ EMP Sky Church for the Opening Gala; Photography by +Russ
See all Decibel Festival Coverage
On KOCH, Lee Gamble is a man more concerned with apparitions and possibilities than he is with cold hard reality. His music flows from some unknown source beyond the file, generating ephemeral .wav forms in real time that hint at sound or structure without revealing their intent or congealing into form. They sound as though they might never have been recorded -- and yet there is direction; there is consciousness. KOCH is hardly anything, really, and yet is a whole lot at the same time; it is a beautiful mystic bowl ready to be filled with another's consciousness. It is as much abstraction and concept as it is tangible product, as much particle as it is construct.
Lee Gamble - Koch Album Review

Seattle’s 11th annual Decibel Festival is quickly approaching, which means it’s time to start the agonizing process of picking and choosing amongst the myriad of showcases, Optical shows, After-Hours, conference workshops, and boat parties the festival has to offer. There are shows and conference activities offered up to 19 hours...

Spectral Hypnosis is a recurring series, featuring mesmerizing songs for one to lose sense of time and space, mind and body.

Factory Floor - "How Do You Say"

The music video for Factory Floor's "How Do You Say" is really nothing more than monotonous vocals, Nik Void's bouncing hair, and geometric projections upon an empty wall -- but this, in essence, is Factory Floor. Having just caught them on their national tour, I will say that this is techno for those who don't really feel the need to go anywhere over the course of a song or even a half-hour set, because when jogging in place looks and feels like this, it's somewhat enthralling enough. Directed by Factory Floor's Nik Void and Dan Tombs themselves. Releases are spread on two digital EPs and three physical 12 EPs, to be released throughout the month of April, featuring the original as well as a number of remixes; hear Daniel Avery and Helena Hauff's below.    
Doomsquad - Kalaboogie Album Review
After the decline predicted and lamented by Explosions In The Sky and Godspeed You! Black Emperor in the 2000s, the Canadian band Doomsquad provide a ritualistic dance party for the new world. Doomsquad provide a new skin for the old ceremony in the form of technological shamanism, where shakers and bone rattles meet Moogs and psych-out guitars in a forest clearing. The main challenge confronting a band that combines multiple genres is that their music inherit the strengths and weaknesses of each, similar to crossbreeding in Nature. Doomsquad’s latest record, Kalaboogie, may be judged by the standards of modern day dance music as well psychedelic and epic indie rock, and they risk losing the listener at every turn. The good news is that, rather than succumbing to the weaknesses, like some poor, mangy rabid mutt, Doomsquad have contributed something to each genre they work in. Kalaboogie, may be made of pre-existing parts -- trance music, triumphant indie rock, industrialized dance music and doomy, decadent mid-tempo disco -- but it is its own beast, its own spirit, inhabiting its own world.
Ron Morelli's L.I.E.S. (Long Island Electrical Systems) is like a techno factory. It's easy to picture powerful pistons and sparking conveyor belts producing these roughly hewn beats. Across 2 discs -- one of collected singles and another of new material -- 19 producers from the L.I.E.S. family bend and warp techno, disco and every hue of house music, then pack it in styrofoam and cotton before shipping it off. L.I.E.S. has been called "Workingman's Techno", due to the no-nonsense approach to their productions, as well as their relentless release schedule. They have put out over 30 releases in 2013, and compilations like Music For Shut Ins are essential, providing a snapshot of not only where L.I.E.S. stands, but it also gives an interesting insight into electronic music as a whole.
L.I.E.S. (Long Island Electrical Systems) - Music For Shut-Ins
Francis Harris - You Can Always Leave EP Album ReviewFrancis Harris You Can Always Leave Scissor & Thread (2013) Listening to the two tracks on the A Side of Francis Harris' new EP had me Googling the difference between deep house and dub techno, as I was unsure where to place it. If you keep up with the various microtrends of electronic music, you will probably understand what a vast range that spans. If not, then think of dub techno as listening to a rave in the belly of a Soviet submarine at 5,000 leagues, as opposed to the mechanical soul of deep house, which might sound like a wind-up jazz band. Boomkat, the Rosetta Stone of electronic music, also referred to A1 "You Can Always Leave" as trip-hop, with its chill vocals and distant trumpets -- and I can go along with it, although Gry Bagøien's singing is more Bjork/Karin Andersson (The Knife/Fever Ray) than Beth Gibbons (Portishead), making the album opener an interesting new kind of electrojazz. You can still hear strains of the dub, deep in the mix, lapping like dark waves, and preventing this from being an ADD-addled, genre-hopping exercise. "You Can Always Leave" is destined to score some desolate dancefloor at 3:30, or perhaps the drive home after, as the sun comes up.