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PLAYLIST:
- Black Moth Super Rainbow Rollerdisco (“Dandelion Gum” Graveface, 2007)
- Belbury Poly The Willows (“The Willows” Ghost Box, 2005)
- Ricardo Villalobos Fizheuer Zieheuer (“Fizheuer Zieheuer” Playhouse, 2007)
- AFX PWSteal.Ldpinch.D (“Analord 8″ Rephlex, 2005)
- Isolee Text (“Rest” Playhouse, 2000)
- Mordant Music The Black Crush (“Dead Air” Mordant Music, 2006)
- Ducktails Neptune City, NJ (“Landscapes” Olde English Spelling Bee, 2009)
- Dolphins Into The Future B9 (“Mountain Saturnus” Dreamtime Taped Sounds, 2007)
- Oneohtrix Point Never Physical Memories (“Rifts” No Fun, 2009)
- High Places From Stardust To Sentience (“high Places” Thrill Jockey, 2008)
- Henry Sauguet Aspect Sentimental (“Archives GRM” Ina-GRM, 2004)
- Harrison Birtwistle Chronometer (“Creelsploitation 1″ Creel Pone, 2006)
- Lily Greenham Experience (“Lingual Music” Paradigm, 2007)
- Animal Collective Panic (“Here Comes The Indian” Paw Tracks, 2003)
- Moon Wiring Club Roger’s Ghost (“An Audience Of Art Deco Eyes” Gecophonic, 2007)
- The Advisory Circle Sundial (“Other Channels” Ghost Box, 2008)
- Sean McCann Look Out (“Phylum Sigh” DNT Records, 2009)
- The Focus Group Modern Harp (“Hey Let Loose Your Love” Ghost Box, 2005)
- Gang Gang Dance Dust (“Saint Dymphna” Warp, 2008)
- J Dilla Won’t Do (Instrumental) (“The Shining (Instrumentals)” BBE, 2006)
- Blectum From Blechdom Bastard Child (“Desnaunted Haus” Tigerbeat6, 2001)
- Ariel Pink Life In L.A. (“Worn Copy” Paw Tracks, 2005)
When Pontone asked if I fancied coming up with a mixtape of favorites from the last decade, I thought “that could get pretty motley”. So I focused on a particular sound-stream: “eldritchtronic”, a non-existent genre that cuts across a bunch of zones (hauntology, the trippier end of microhouse, hypnagogic/glo-fi, the Brooklyn school of “ecstatic experimental”, etc). Mostly electronic but rarely intersecting with the dancefloor, this music merges blissy and eerie, the wired and the wyrd. And because the 2000s was when the linear temporality of music definitively dissolved, there’s leakage from the remote past, musique concrete and text-sound by artists I encountered for the first time during the Noughties. The selection was by me; Pontone assembled and sequenced (expertly–only thing I’d change would be to have “Chronometer” emerge out of “Fizheuer” Zieheuer”… try it, you’ll see what I’m getting at). But I did ask for the Ariel Pink song to go last, as that has special meaning.
Simon Reynolds
