The following is a selection of my favorite tunes from releases that came out during the past week or so. Click the track titles to hear each song individually, or you can also just head over to this convenient Buy Music Club list if you prefer to listen to them all in one place.
Shawn Reynaldo is a freelance writer, editor, presenter and project manager. Find him on LinkedIn and Twitter, or you can just drop him an email to get in touch about projects, collaborations or potential work opportunities.
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Pitchfork is being gutted. Sure, parent company Cond\u00E9 Nast is framing what\u2019s happening as a \u201Crestructure,\u201D with Pitchfork being folded into men\u2019s magazine GQ, but considering that editor in chief Puja Patel has already been let go, along with many of the site\u2019s other writers, editors and staffers, it\u2019s difficult to see this as anything other than an extremely dark moment for music journalism.
Say what you will about Pitchfork. (Full disclosure: I have contributed a smattering of reviews and features to the site during the past five years.) It wasn\u2019t perfect, and its poptimist turn wasn\u2019t something I particularly appreciated. But irrespective of that, Pitchfork was still a place that not only continued to make room for meaningful reporting, but also continually shined a light on relatively obscure and experimental corners of the music world. It was also one of the only sites left still doing thoughtful, properly edited music reviews, and its editors used that form to develop and platform promising new writing talent in a way that few other outlets even attempt these days.
It\u2019s not a stretch to say that Pitchfork was quite possibly the most influential music publication in the world\u2014it was certainly on the shortlist\u2014and yet, even that didn\u2019t matter in the end. For Cond\u00E9 Nast, the site was ultimately just another asset on their spreadsheets, another legacy property that could be leveraged for brand money. Perhaps it\u2019s premature to be talking about the site in the past tense; it appears that not everyone has been laid off, at least not yet, and depending on how the merger with GQ takes shape, Pitchfork could potentially continue in some (probably zombified) form. Nevertheless, what\u2019s happened already feels like the definitive end of an era, and is yet another warning sign that the music journalism field, which was already on life support, is in danger of total collapse.
In light of this news, it\u2019s weirdly fitting that I published an essay about the return of music blogging earlier this week. There\u2019s more on that below, but as promising as the recent resurgence of independent newsletters, blogs and podcasts may seem, it\u2019s absolutely tied to the ongoing disintegration of the professional music media. More importantly, even if there\u2019s some sort of independent media ecosystem forming, it\u2019s extremely fragile, and shouldn\u2019t be seen as an adequate replacement for what\u2019s been lost. If we want to keep quality music journalism alive, people are going to have to pay for it, and as of now, consumers\u2019 appetite for that appears to be limited.
Maybe I\u2019ll have more to say about this in the future, but in the meantime, I assume most of you are here for the weekly First Floor digest. If so, then read on. You\u2019ll find bits of electronic music news and a bunch of new release announcements, along with a handful of track recommendations from records that dropped during the past week. I\u2019ve also recruited one of my favorite writers and editors, Marke B., to drop in with a track recommendation of his own, and it\u2019s a real firecracker.
Every Tuesday, First Floor publishes a long-form piece that\u2019s exclusively made available to paid newsletter subscribers only. The latest one, which is now (temporarily) open to everyone, examines what some are calling a \u201Cblog renaissance,\u201D taking stock of not just why so many independent newsletters, blogs and podcasts have popped up during the past few years, but whether the nascent ecosystem they\u2019re forming has a legitimate chance of long-term survival.
Aside from the Pitchfork news, music journalism had another, admittedly less momentous \u201Cend of an era\u201D moment earlier this week when FACT revealed that its in-house mix series would be coming to an end after 16 years. The news was embedded in the writeup that accompanied the series\u2019 final installment, a mix from Tati au Miel.
Over the past week, a number of artists\u2014including Scratcha DVA, Kampire, Raji Rags, Jyoty and Manuka Honey\u2014publicly pulled out of the upcoming CTM festival in Berlin, which is partially funded by the German government. While each artist gave their own statement, their cancellations were by and large a response to how the German government, in the wake of Hamas\u2019 October 7 attack on Israel and Israel\u2019s subsequent invasion of Gaza, has moved to curtail pro-Palestinian speech and protest. (NYC\u2019s Dweller festival cited similar reasoning when it recently announced that it would not be returning to Berlin this year.) More specifically, some artists are also taking issue with the government\u2019s increasing adoption of the the International Holocaust Remembrance Alliance\u2019s definition of anti-semitism, and how that limits (and, in some cases, completely stifles) critique of the Israeli government, particularly when arts and cultural organizations face the threat of losing funding if they deviate from said definition. In response to the cancellation, CTM issued a statement stating that it \u201Crespected the artists\u2019 decisions.\u201D It remains to be seen how this will affect the festival\u2019s viability, both now and in the future, but considering just how many clubs, festivals and collectives in Berlin (and, presumably, much of Germany) receive at least some government funding\u2014this link from the Berlin Clubcommission lists 40 grant recipients from just a few months ago\u2014this issue is unlikely to go away anytime soon.
In related news, French-Lebanese artist Arabian Panther last week accused vaunted Berlin nightclub Berghain of cancelling his January 12 booking at the venue due to his vocal support of Palestine. Furthermore, he claims that the club attempted to conceal their reasoning for the cancellation, and wound up cancelling the entire night\u2014a Italorama Bar X Ritmo Fatale event\u2014under the guise of unforeseen maintenance. Ritmo Fatale label manager Kendal confirmed many of these details in a subsequent news story by Resident Advisor\u2019s Arielle Lana LeJarde, but Berghain itself has yet to comment. (And given the club\u2019s long-standing avoidance of the press, it most likely won\u2019t.)
The definitive Mister Saturday Night interview has dropped. The duo of Justin Carter and Eamon Harkin, who also own NYC venue Nowadays, are currently celebrating the party\u2019s 15-year anniversary, and to mark the occasion, they sat down with Vivian Host\u2019s Rave to the Grave podcast for an extensive, two-part conversation that details their backstory, but also dives deep into the history of NYC dance music and the (not always glamorous) particulars of running a nightclub.
A clip from UK quiz show University Challenge recently went viral in dance music circles\u2014it involves perplexed teenagers giving \u201Cdrum & bass\u201D an answer, when host Amol Rajan was looking for \u201Cjungle\u201D\u2014and while the resulting conversation prompted all sorts of bemusement, it got writer Joe Muggs feeling fired up. Surveying people\u2019s comments and noticing just how much incomplete (and, in many cases, incorrect) narratives have solidified around the differences between jungle and drum & bass, he decided to push back, exploring the matter at length in a thought-provoking essay for The Quietus.
UK radio mainstay Annie Nightingale, who was both BBC Radio 1\u2019s first female presenter and its longest-tenured on-air personality, passed away at the age of 83. Having first started on the BBC in 1970, she was still working there at the time of her death, and had been one of the station\u2019s dance music specialists since the 1980s.
My first book is out now. It\u2019s called First Floor Vol. 1: Reflections on Electronic Music Culture, and folks can order it from my publisher Velocity Press. However, if you\u2019re outside of the UK, I\u2019d actually recommend either inquiring at your favorite local bookshop or trying one of the online sales links I\u2019ve compiled here.
This item should have been included in last week\u2019s digest, but over the holidays Ron Morelli released Rhythm Master, a mini-LP of gritty, \u201980s-inspired house cuts that could be seen as an addendum to his 2023 album Heart Stopper. (For those who missed it the first time, Morelli discussed that album and much more in a highly entertaining interview with First Floor last year.) Rhythm Master is available now on L.I.E.S.
Burial has been teasing new music in recent weeks, and while all the details have yet to be revealed, it seems that he\u2019s linked up with the XL label and will be releasing a record called Dreamfear on February 9.
An underappreciated hero of the much-discussed Miami scene, Jonny from Space will soon be releasing his debut album. Entitled back then I didn\u2019t but now I do, it\u2019s slated to arrive on February 9 via Incienso, but LP cut \u201CLive\u201D has already been shared.
Eris Drew and Octo Octa\u2019s T4T LUV NRG is one of the few prominent outposts that remains dedicated to the art of the mixtape\u2014as in DJ mixes released on physical cassettes\u2014and this week the label released A Night in the Skull Discotheque, a two-sided session from CCL. It\u2019s out now, and those wanting to supplement the music by finding out more about the shapeshifting Berlin selector should also check out CCL\u2019s recent appearance on the No Tags podcast. 152ee80cbc
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