#idm music 1990

[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"

[ndylaurent]

The Third Eye Foundation - You guys kill me (1998) cover art

[cannedbluesblog]

Paul and Phil Hartnoll of Orbital

[uselessidea]

Useless Idea - Demo Tape from 1999

From my archive of cassette demos, a track from 1999, the tune must have been done with a Casio, I don't remember the model. Imperfect music, that will never be released on record, imperfect but full of memories and passion, maybe I will share other naive tracks. Enjoy

[randomvarious]

1990s Electro Playlist

Electro is that cold, mechanical, futuristically dystopian, raw, sci-fi urban dance music that originated in the early 80s in New York with dudes like Afrika Bambaataa and then in Detroit with dudes like Juan Atkins. Both movements were more or less influenced by the same crop of acts: Kraftwerk, Yellow Magic Orchestra, Gary Numan, etc., but while electro would mesh with rap in New York and then soon get subsumed by Rick Rubin’s brand of guitar-infused production to give us Run-D.M.C., Juan Atkins and his ilk would take the Detroit brand of the stuff and develop techno music out of it.

But with the advent of that Rick Rubin style of rap, the overall popularity of electro music proceeded to take a nosedive, and it wasn’t until the late 90s that it would sustain its first serious wave of revivalism.

However, those early to mid-90s still had some great electro tracks too, even if there were hardly any public places to actually play the records themselves. Acts like Drexciya and Aux 88, both from the Motor City, provided a lifeline for this highly specific brand of perpetually 80s-sounding dance music by keeping it uptempo and maintaining an explicit Detroit techno feel, despite not really deploying the typical four-on-the-floor beat that’s so germane to techno in the first place.

So, this playlist, little by little, is going to try to accumulate some of that dope electro that these 90s had to offer, from that nearly dead period to the second wave.

Two personal favorites of mine here, at least on the Spotify version of this playlist, are "Sci-Fi Memento" by a Danish group called Kraftwelt, who derive much of their own inspiration from Kraftwerk themselves, and the all-time electro classic of "Space Invaders are Smoking Grass," by a guy from the Netherlands who calls himself I-f. Sitting at over 11.7K plays, "Sci-Fi Memento" is a string synth-laden joint from '96 with a refreshing amount of crispness and clarity that is not all that typical of the electro sound; but "Space Invaders are Smoking Grass," on the other hand, which somehow only came out the following year, and is at over 1.873 million plays(!), brings that lovely and familiar fuzzy-dusty electro sound, with its low and stabby distorted bassline, its robot voicing, and a difficult-to-describe metallic-shiny-popping melody that really puts the whole thing over the edge.

This playlist is ordered as chronologically as possible:

Drexciya - "Bubble Metropolis" Feedback - "Seasons" Alien FM - "The Future" Like A Tim - "Housegirl - Homeboy" Kraftwelt - "Sci-Fi Memento" Da Sampla - "Digital System" Will Web - "Boomin'" Like A Tim - "From Scratch" I-f - "Space Invaders are Smoking Grass" Dopplereffekt - "Sterilization" KT-19941 - "Face Your Fate"

But truth be told, if you want the real fuckin' 90s electro stash, you'd be much better off checking out the YouTube version of this playlist instead, because in addition to all of those tunes listed above, it also has a bunch of stuff that can't be found on Spotify too, like a dope track from 1991 by legendary UK IDM duo Autechre, who were operating as Lego Feet when they put out the hissy "Keyop" (13.8K+ plays), a song that utilizes that same type of synth sound that would make that guy Tobacco from Black Moth Super Rainbow indie-famous in the late 2000s and 2010s (the theme song to Silicon Valley actually came from one of his tunes).

And we've also got the Detroit ghettotech legend himself, DJ Assault, with a back-to-back pair of made-for-dancefloor slappers in "Shake It Baby" (196.8K+ plays) and "U Can't See Me" (4K+ plays with the specific version I put on here); a terrific 12-and-a-half-minute megamix by techno DJ legend and electro connoisseur Dave Clarke that packs in a lot of classic 80s electro-hip hop with some more contemporary stuff (3.8K+ plays); and then a pair of tunes that I discovered on a 1999 compilation called Electro Kingdom: Episode One to close things out: Thomas Krome's "Electro Bitch," which sounds like descending down an escalator straight into hell (400+ plays), and "Skewer (You're So Human)," by Nudge aka Freeform, which sees who I think is one of the most underrated IDM artists of all time blending his genre of expertise with electro (100+ plays).

Lego Feet - "Keyop" Aux 88 - "Technology" Storm - "Timeline" Aux 88 - "Direct Drive" Transits of Tone - "Warfare Beats" Aux 88 - "I Need to Freak" Posatronix - "Step Into My Groove" DJ Assault - "Shake It Baby" DJ Assault - "U Can't See Me" Anthony Rother - "Describe Reality" Aux 88 - "Electro/Techno (Microknox Remix)" Oliver Dodd - "Janitorial Bandsaw" Dave Clarke - "Oldskool Cut Up" Thomas Krome - "Electro Bitch" Nudge - "Skewer (You're So Human)"

And this playlist is also on YouTube Music.

So with the Spotify version of this playlist, we start with 11 songs that clock in at over 57 minutes, but over on YouTube, we've got 25 songs that clock in at 135 minutes. So if you want a whole lot more of that electro fire, give the YouTube one a listen.

Next week, some London tracks!

Enjoy!

More to come, eventually. Stay tuned!

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

[jerseybumpkin]

Pulp’s Seperations: Love, Jealousy, and Hatred

The 1992 album of Britpop band, Pulp, is a painstakingly aggressive album of love, jealousy, and hatred. The sickly greens of the album’s cover are the appetizer, the dinner mint of it all, to prepare the listener for the extravagant meal their ears will feast on.

Jarvis Cocker’s throaty, sensual, and brash vocals create the punch of emotions that offset Candida Doyle’s punchy synths, Steve Mackey’s deep-cutting basslines, and Russell Senior’s acid-induced guitars. A motif of sun, moon, and stars are recurring throughout the album, perhaps a symbol to represent the body and the feelings that come along with love, jealousy, and hatred. 

The track “Love Is Blind” is a spiritual lament about the world collapsing and falling in love. “Countdown” discusses attempting to fall in love with someone who’s in a relationship already, a recurring theme in Pulp’s music. Other notable tracks include “This House Is Condemned”, sung by violinist Russell Senior, “Don’t You Want Me Anymore?”, “She’s Dead”, “My Legendary Girlfriend”, and “Death II”.

Recorded in Fon, Sheffield from 1989 to 1990, the album mixes IDM, acid house, indie pop, experimental, synth pop, and alternative rock into one mind-bending genre, creating a psychedelic fusion of sounds.

The overall album is an explosion of hatred, feeling doomed yet lovesick, jealousy, and closed-off rage.

[thisisrealy2kok]

Deep Space Network - Heavy Dose (1994)

[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.

[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]

[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. 

[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/