“With Y2K aesthetics back in vogue, and post-pandemic clubbers jonesing for a hit of euphoria, the much-maligned genre is making a comeback.”
“Rave culture breaks from the past to build something new.”
Cultural critic Simon Reynolds looks at 20 years of Auto-Tune.
On the growing tension between techno’s gritty origins and its current velvet-rope tendencies.
How Detroit techno was born — and continued to thrive — amid financial and social strife.
In the newest issue of The New Yorker, Kelefa Sanneh wrote about Grimes, real name Claire Boucher, whose history in underground experimental music led her to making homemade electronic bedroom pop. Last year, Pitchfork named her song “Oblivion” the best song of the decade to date, and as she’s preparing to release her second proper album, […]