The Body Electric.

Milosh’s fourth album, Jetlag, is an exploration of intimacy. He talks about his songwriting and the journey he has taken making electronic music.

” I’m really trying to personally fight this major label mentality; this commercial ‘let’s just market a product’ approach by getting writers involved and their two cents in because they want it to be a commercial success. I find that whole thing gross.”

[rating=3]
Released September 23, 2013
Au Revoir Simone, on their fourth album Move in Spectrums, remain dark, mysterious and a little self-indulgent.

“Every album has been more interesting than the last and this is their most cohesive in many ways and certainly the most assertive, a much needed attribute that the band required to move forward and to avoid the sometimes all to appropriate ‘nice’ tag.”

Production Value.

Andrew Darley talks to Jessy Lanza about her love of music, and what it’s like for a woman to be a producer in a man’s world.

“The public can be sexist about what they consider women can do in music. It isn’t a huge surprise to me though, people see me and think “Oh you’re a musician, you must be a singer”. I’m always pretty quick to correct them..”

[rating=4]
47:42 min • Federal Prism • September 24, 2013
Oh Land’s Wish Bone: the promise of something both unexpected and immediately compelling is met almost without exception.

“Oh Land, like several similar acts, has been on the periphery of this greatness for a little while now but Wish Bone sees her nudge her way into this very special group with an album that, in addition to cementing her own unique identity, is a delirious and thoughtful collection of pop beauty.”

Different Perspectives.

Andrew Darley talks to Marco Lawrence, the man behind Hall of Mirrors, a new voice in electronic music.

“Artists like Depeche Mode, Austra, M83, and iamamiwhoami have definitely influenced my production. I think they are great examples of electronic musicians who make music that is danceable while also still having a lot of beautiful and ethereal sounds behind it.”

[rating=4]
Released April 28, 1980
With Flush the Fashion, Alice Cooper reinvented himself and his music, embracing a punk and electronic edge.

“The use of electronic sounds is being used to explore the themes of duplicating people, the dangers of emerging technology for society. This hidden dark edge is pure Alice and while the public may have been thrown off by the slick sound of this single, the blackness was still there.”

The Multi-Dimensional Sound.

Jonna Lee talks about the development of online multimedia sensation iamamiwhoami, and what that means to the evolution of music in the digital age.

“Experiencing sound isn’t one dimensional for me. I strive to capture and procure the entirety of it. Not only by putting vision onto sound, but to mould them together. The way we release our work is in a way that gives us room to do this.”

Dramatic Electronic Pop.

Susanne Sundfør on collaborating with M83 for the soundtrack to Oblivion, her work with Röyksopp, and the UK release of her back catalogue.

“I started making songs when I was 17, because all the guys in my music high school who made their own music got a lot of attention. I wanted attention too, and I wanted to be able to live off of my own music, so I guess that’s why I started.”