Electronic Sound is the best electronic music magazine in the world. In-depth coverage of the current scene, the pioneers, the machines, and the current thinking of the electronic music world.
It’s taken Orbital more than 30 years to get to their 10th studio album and what a journey it’s been. Right from their 1989 debut single, the gently acidic and effortlessly hypnotic ‘Chime’, Phil and Paul Hartnoll demonstrated a natural talent for matching shiny beats with shimmering melodies. So while the pair were viewed as leading lights of the rapidly expanding UK rave scene, the widescreen wonder of their early records put them in a totally different league to most of the hands-in-the-air brigade. Can you feel it? Oh yes. With bells on.
With a deep understanding of electronic music’s roots and a passion for its future, Electronic Sound places the music in a wider context of culture and technology. This unique blend of high calibre music journalism and lifestyle content makes it the essential music magazine.
Blimey. We like to think we’ve had some pretty striking covers over the years, but the photo of Röyksopp on the front of this month’s Electronic Sound really is something else. We have a weighty interview with the unorthodox Norwegian group inside the magazine, plus loads more to entertain you. Röyksopp’s massively popular 2001 debut album, ‘Melody AM’, made the pair the first new electronic superstars of the 21st century. Two decades down the line, Svein Berge and Torbjørn Brundtland are bossing 2022 with the release of two terrific albums in the space of only four months. ‘Profound Mysteries’ and ‘Profound Mysteries II’ embrace an array of electronic styles – slinky pop songs, funky bangers, wistful moments and much more – but the albums are actually part of a wider art project that also involves 20 short films and 20 specially created digital artefacts, one for each of the 20 tracks. A lot of it is mighty strange stuff and it all adds up to a thrilling and truly unique audio-visual trip.
Electronic Sound covers contemporary electronic music and culture with a side order of art and technology.
We’re delighted to have Blancmange main man Neil Arthur on the cover of the latest issue of Electronic Sound – and a special dot-to-dot image of him, no less. We have a limited edition pink vinyl seven-inch to accompany the magazine too, with the awesome ‘Living On The Ceiling’ on the A-side. Blancmange were one of the coolest synthpop outfits of the early 1980s and it was quite a surprise when Neil Arthur and his original partner Stephen Luscombe called it a day in 1986. It was another surprise when Neil resurrected the group in 2011, putting out a dozen or so new Blancmange albums during the last 11 years. The latest, ‘Private View’, is an absolute corker. And as well as making great records, Neil always gives brilliant interviews, skipping between subjects, offering unique opinions, telling endless anecdotes – from swimming races with Depeche Mode to sitting on Grace Jones’ knee – and all of it without missing a beat. He’s a master at connecting the dots. Hence this month’s cover image.
We are giving you two cover stars for the price of one this month – minimal techno pioneer Plastikman and piano maestro Chilly Gonzales, who have joined forces for a one-off album that is truly special. We’ve a fantastic seven-inch featuring two tracks by the pair to accompany the magazine too. Plastikman, aka Canadian producer and DJ Richie Hawtin, has created some of the most innovative and exhilarating electronic music of the last 30 years – from sinuous acid to skeletal techno to panoramic ambient soundscapes. His latest release, ‘Consumed In Key’, is a bold reworking of his 1998 album ‘Consumed’, recorded in collaboration with fellow musical shapeshifter Chilly Gonzales. It’s a giant leap into uncharted territory for these two sonic adventurers and we have spoken to both Plastikman and Chilly to get the inside story on what is a highly addictive and truly stunning record.
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