The magazine
Siete Catorce Comes From a Scene That Never Asked Europe for Permission
El Valle, on In-Correcto and Discos Nutabe, is techno built on a different set of rhythmic defaults, and it travels anyway.
Shelley Parker Makes Dissonance Feel Deliberate
Screed, on Sneaker Social Club, is bold enough to risk the label's own audience, and keeps sound-system weight while doing it.
Barnt Still Refuses to Make the Obvious Record
After Completing the Hex, on Magazine, is techno written as a structure rather than as a sequence of peaks.
The Engineer Is the Author: Marta Salogni and the Tape Machine
One of the most sought-after studio minds of her generation closes Transmissions XVIII with work made on a medium that fights back.
Iggor Cavalera’s Second Life Behind the Machines
A drummer formed in extreme metal has spent years rebuilding himself around electronics, and he is not doing it as a novelty.
Kevin Richard Martin Takes the Heaviest Music He Has Into a Theatre
Sub Zero, with Radwan Ghazi Moumneh and Frédéric D. Oberland, opens Transmissions XVIII in a room designed for listening rather than dancing.
Holy Tongue Keep Pulling Dub Somewhere It Has Not Been
Electric guitar and post-punk edges enter the trio's played, unsteady dub on a new album for AD93, and nothing falls apart.
Seven Hours Is an Argument, and Theo Parrish Is Making It in Turin
A Detroit selector gets a whole night at C2C. The long set is the format that separates a DJ from a playlist, and it is disappearing everywhere else.
Loidis Makes Music for Two Hours, Not Two Minutes
Twelve tracks and close to two hours on Incienso, built on the patience that dubbed-out house was invented for.
Andy Stott Has Spent Twenty Years Making Decay Sound Beautiful
A new album on Modern Love puts voice at the front of music built from tape damage, sagging tempos and bass that arrives late.