#idm music 1990

[uselessidea]

USELESS IDEA GLITCH IN THE COLRS PROMO

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Bandcamp: https://useless-idea.bandcamp.com/album/glitch-in-the-colors

[thisisrealy2kok]

Squarepusher - Hard Normal Daddy (1997)

[phonographica]

FUSE – Dimension Intrusion (1993)

[haveyoulistenedtothisalbum-poll]

Tracklist:

Rhythm Sketch #4 (Hardfloor Remix) • Rhythm Sketch #2 (DJ Spooky That Subliminal Kid Remix) • Rhythm Sketch #1 (Coldcut Remix) • Sketch #3 (Morning Theme) (Mijk Van Dijk Remix) • Rhythm Sketch #5 (Ebizoo Remix) • Sketch #5 (Fear Theme) (The Cinematic Orchestra Remix) • Sketch #1 (Main Theme) (Andrea Parker Remix) • Rhythm Sketch #3 (DJ Food Remix) • Sketch #2 (Snow Theme) (Tobynation Remix)

Submitter's Note: The music contained on this album was originally composed by Kenji Eno

Youtube

[possible-streetwear]

[leiselaute]

The Notwist - Noah from "12"

[cannedbluesblog]

Paul and Phil Hartnoll of Orbital

[randomvarious]

1990s IDM Playlist

Alright! Now we’re finally getting somewhere with this 1990s IDM playlist! Not so much on the Spotify end of things, because their IDM selection isn’t very good at all, but with YouTube, I was able to add a handful of some really great and extremely slept-on songs.

But first, Spotify: with this update, I added one song, and it comes courtesy of a guy from Manchester, UK called Jega, who made his debut in 1996 with an EP called Phlax. And that release’s title track, which also appeared on a 1997 compilation from Skam Records that was simply called Skampler, is fantastic. It doesn’t have all the bells and whistles and bleeps and bloops that IDM tracks typically have, but it’s this piece of sci-fi-futuristic electro-intensity that comes with warped and reverberating layers of strings and a sharp and crisp drumbeat. It’s one of Jega’s most popular songs too, having netted over 108K plays on Spotify.

Jega - “Phlax”

And now, YouTube: I ended up adding seven different songs to this thing, all of which aren’t on Spotify at all, and five of them are made by who I consider to be quite possibly the most underrated IDM producer of all time, London’s Simon Pyke, better known as Freeform, but also known as Nudge. Pyke’s released a bunch of stuff on different stalwart IDM labels throughout his career, including Warp, Skam, Quatermass, Sub Rosa, Worm Interface, and Sprawl Imprint, but he’s also contributed a bunch of complete stunners to compilations as well. And the YouTube play counts for the ones I added today happen to be appallingly low, with “Dice” being the highest at 55 plays, and “Duplo” being the lowest at just 10 plays. It’s hard to pick an absolute favorite out of all of these Pyke adds too, but “Duplo” just might be the one. He really has a tendency to make some of the wildest, most innovative, densest, and uniquely breathtaking IDM that you’ll ever hear in your life. I swear on it. Bear witness to this absolute genius 🤯.

The other two YouTube adds come from a pair of other IDM entities: The Black Dog, who remix German duo Alter Ego’s “Tanks Ahead”—a hypnotically enthralling song with just a little over 4,600 plays that first appeared on Frankfurt label Harthouse’s Dark Hearts - Volume 1 compilation in 1995—and nebulous Autechre side project Gescom’s “Keynell 1,″ which has a number of uploads on YouTube, but only one as it appears exactly on that aforementioned Skampler album.

Alter Ego - “Tanks Ahead (Black Dog Mix)” Gescom - “Keynell 1″ Freeform - “Dice” Freeform - “Fyonk” Freeform - “Flumps” Nudge - “Skewer (You’re So Human)” Nudge - “Duplo”

This playlist is also on YouTube Music.

So, while I understand people’s preference for Spotify, because it’s a way more convenient platform for streaming music, know that if you choose that one, you really will be missing out on some of the greatest IDM that’s ever been made, because I don’t have a single Freeform or Nudge track on it. They’re all over on YouTube. The Spotify playlist is at 14 songs and 75 minutes, but the YouTube one is at 34 songs and 3 and a half hours! That’s more than double!

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!  

[phinnweb]

Amuri Tekno are Miika Salo and Miska Väänänen, hailing from Tampere, Finland. Their music is a homegrown blend of Detroit-inspired techno, tech-house, acid house, IDM, and ambient. They have released on such Finnish record labels as Kontact Records, Spin Records and Turun Levytehdas. They are both of the generation who was coming of age during the halcyon days of the early 1990s techno music and rave culture explosion which spread also to some more peripheral regions outside the obvious Detroit-London-Berlin axis, and furthermore, spawned such new musical genres as IDM and drum & bass. For some years now pHinnWeb has been a big fan of Amuri Tekno's music, so it was time to find out about their origins, ideas and views. For the interview, often accompanied by a hearty laughter, they share their insights not only about their own productions and instruments but also of being long-time music fans, discussing their favourite artists, labels and records, Tampere’s local scene and its history, and electronic music culture in general.

43 minutes. With English subtitles.

[twistedsoulmusic]

After experimenting with free jazz and Moroccan Gnawa music, James Holden revisits the rave music he grew up listening to. The project blends dance music forms like Balearic, IDM, and trance with organic sounds. His fourth album is a sonic exploration of musical genres, creating a distinct soundscape where tracks build patiently, offering an immersive listening experience. His production style is recognised for its delicate balance of complexity and accessibility, making this perfect for both the dance floor and the home listener. By combining the classic rave music of his youth with his distinctive style, Holden creates a modern take on the early 1990s dance music scene. 

[uselessidea]

Useless Idea: http://www.uselessidea.it

[thisisrealy2kok]

Deep Space Network - Heavy Dose (1994)

[soundsofnightcity]

The game also features a massive score that clearly channels some of the brashest electronic music of the 1990s. Aiming to echo 2077’s gritty aesthetic, music director Marcin Przybyłowicz and composers P.T. Adamczyk and Paul Leonard-Morgan consciously avoided the ’80s-inspired microgenres sometimes associated with the broader sci-fi genre of cyberpunk (synthwave, outrun). “We wanted to draw from industrial, IDM, techno, genres that are not necessarily ‘score-friendly,’” Adamczyk tells me. “We took musical devices from those genres and mangled them, mashing them with other styles to create narrative structure from them.” They also invited Nine Inch Nails drummer Ilan Rubin out to Poland for a recording session, in the hopes of injecting “a vague touch of humanity” to the sonic landscape, says Leonard-Morgan. They would eventually chop and process his breaks to fit the final score.

Noah Yoo, “Inside the Star-Studded Soundtrack to Cyberpunk 2077″ Pitchfork 14 December 2020 https://pitchfork.com/thepitch/inside-the-star-studded-soundtrack-to-cyberpunk-2077/

[haveyoulistenedtothisalbum-poll]

Tracklist:

Delta Mk II • Ubiquity • Asylum • Bedouin • Molten Love • Pi • S.A.L.T. • Toxygene • Log Of Deadwood • Secrets • Passing Of Time • 72

Spotify ♪ YouTube

[possible-streetwear]

[bak3r]

Video Song Choice

I honestly had quite a bit of trouble choosing what song should back my video, especially considering the debate on whether music would even work for my video in my previous critique. I ended up going with Ilkae by Smok Battle, and here's my reasoning:

This song, if I'm assuming correctly, belongs to the genre 'IDM'. IDM is a style of electronic music originating in the early 1990s, defined by idiosyncratic experimentation rather than specific genre constraints. I felt that this genre in a way reflected that of the queer experience in subverting the heteronormative. A genre specifically created for defying something felt very suitable for my project.

This song in particular has tons of different sections. There also isn't one set BPM, as it fluctuates throughout in almost fluid sense. The drum patterns are harsh but the melodies are sweet, both of which great for me to edit the jump cuts of my video to.