Although I am drawn to the mystique of obscure electronic gear, I’m not a Boards Of Canada lifer. When IDM cravings kick in, I typically reach for Aphex Twin or Squarepusher. In Warp Records’ 1990s milieu, I lean toward Seefeel, Two Lone Swordsmen, and Plaid. Even the way I first encountered the Scottish duo in high school left me unenthused: a chatty classmate mentioned Music Has The Right To Children during a Spanish class, prompting the teacher to phone my folks and admonish my wandering attention.
January brought a shift in perspective as I rewatched Lynne Ramsay’s 2002 meditation on mortality and pleasure, Morvern Callar; its soundtrack includes the BOC track “Everything You Do Is A Balloon.” That moment connected me with trip-hop textures that had previously eluded me. My renewed curiosity continued to grow, perfectly timed with the duo’s first album release in more than a decade. Cryptic VHS parcels found their way to fans, and posters echoing the same imagery cropped up near my Greenpoint workplace. The vinyl shop I manage began fielding questions about whether I’d heard about the return from brothers Mike Sandison and Marcus Eoin. When Inferno was announced, Boards Of Canada stock routinely sold out — a voracious appetite for physical formats I hadn’t witnessed since Cindy Lee’s Diamond Jubilee hit the shelves.
If nothing else, Inferno stands as a case study in the hype cycle. During a listening session at Judson Memorial Church in Manhattan, the cue to enter stretched along the cathedral’s length. The crowd roared as Boards Of Canada’s hexagon logo glowed behind the altar. I breathed a sigh of relief when blocky grooves emerged from the PA — the ambient side of Boards Of Canada, which I find saccharine, isn’t my thing.
“Prophecy At 1420 MHz,” “Hydrogen Helium Lithium Leviathan,” and “The Word Becomes Flesh” could be categorized as downtempo, yet I pick up signs of dubstep. Atmospheric pieces, including “The Process” and “You Retreat In Time And Space,” are given space to breathe and become compelling. Robotic invocations on “Father And Son” and “Blood In The Labyrinth” feel endearingly gaudy, recalling the heyday of plunderphonics. Silvery guitars bloom, nudging toward vaporwave and shoegaze. Inferno carries echoes of the movements that Sandison and Eoin have helped shape.
PEAK TIME
10
Sobolik & georg-i – “Overtorqued”
Kindergarten Records grew from fog-draped basements in Bushwick, specializing in bass-driven sorcery. Core member Tom Sobolik has joined forces with Bristol-based George Harris (aka georg-i) to craft the high-octane EP Final Drive. The track “Overtorqued” traverses mellow lounge-y terrain before cresting into an overwhelming speaker-busting peak. Conceived in London and steered by online admiration, the result remains aggressively assertive.
9
Joe Milli – “Mantra”
In line with the strongest names on Peverelist’s Livity Sound roster, Joe Milli fuses sinuous polyrhythms with enigmatic flourishes. The London-born producer returns to Bristol’s imprint with Repetitions, an EP of razor-sharp tools. “Mantra” balances the swag of UK funky with a vocal sample that hints at emptiness—a primal gem.
8
Spekki Webu – “Earth”
Spekki Webu embraces Dutch pointillism, drawing nods from Dekmantel and the now-defunct De School. Bootstrap Paradox — released through Outer Orbit Records in New York — channels a blend of science-fiction reverie and nostalgia. “Earth” glints and winds; Spekki Webu is a day-scoring filmmaker, bringing a kinetic touch to his work.
7
Heavee – “Chainsmoke” (Feat. DJ Manny & DJ Lucky)
On Mainframe, released by Hyperdub, Chicagoan Darryl Bunch Jr. (Heavee) puts a cartoonish twist on footwork. The Teklife-affiliated EP is frenetic and tangled. “Chainsmoke” features fellow travelers DJ Manny and DJ Lucky, delivering jagged juke that dissolves and remolds on a whim.
6
INVT – “SOUTH FLORIDA EUPHORIA”
From 2017 to 2024, INVT were prolific. The Miami duo of Luca Medici and Delbert Perez kept quiet after their 12-inch with K-Lone, Loca, playing it safe and popping up on remixes or compilations when prompted. Their return with 8 AM Swim tightens the pummeling blueprint with surgical precision. “SOUTH FLORIDA EUPHORIA” presents techy, disembodied stutters perched on brittle sequencing. The sweaty energy is refined, not loud for loudness’ sake.
5
DJ Lag – “NOPS”
TraTraTrax sits at the crossroads of propulsion and futurism. Born in Colombia through Verraco, Nyksan, and DJ Lomalinda, it helped usher Nick León, Doctor Jeep, and Bitter Babe into the limelight. With curatorial duties handed to London’s Corsica Studios, NTS, and Hyperdub collaborator Shannon SP, Mzansi Bass spotlights the South African underground. Gqom icon DJ Lag swings from vulnerable valleys to laser-sharp summits on “NOPS,” carrying the flame for a scene that deserves more light.
4
Yushh – “The OCC”
In outings for Wisdom Teeth, Well Street Records, and her own Pressure Dome, Bristol’s Jennifer Hartley (Yushh) blends glitter with grit. Her Timedance EP for Batu’s label offers Full Body AXY with bite. “The OCC” runs on throaty clacks and resonant woodwinds, until a creeping bass eases the tension. Hartley’s prior material tended to reach unsettled minds; this one aims for the chest.
3
Beatrice M. – “Years”
Beatrice Masters leads the dubstep revival with a clear, personal sonic fingerprint and runs the label Bait. Where Tempa and DMZ predecessors could feel blunt, this British-Parisian sound feels fresh. Their debut LP for Pinch’s Tectonic, Sinking, is tactile and aqueous, aided by Jay Carder, Sir Hiss, Jinnal, and Kaba. “Years” channels King Tubby and Coki, with holographic chords shimmering over a skittering kick—weight with pristine clarity.
2
DJ Seinfeld – “Turning The Page”
Sweden’s Armand Jakobsson (DJ Seinfeld) emerged during the lofi house surge, riding a cheeky, heartbreak-tinged SoundCloud aura into prominence. His Ninja Tune release If This Is It leans into accepting the present moment. Many cuts are uplifting, partnering with heavyweights like SG Lewis and Confidence Man. “Turning The Page” is moodier, a lead that hops around with a melancholy vocal, building to a strobing peak. Jakobsson excels when a touch of friction is present.
1
Skrillex – “Thistle”
Between praise from Four Tet and a collaboration with Eli Keszler, Sonny Moore has reshaped himself into a serious artist. His surprise Skrillex drop, SOMA, follows the CONTRA: Berlin weekend at Kraftwerk, which united upsammy, Batu, Malibu, and others. “Thistle” pairs with the visceral highs of Blawan, Randomer, and MC Dricka. Bleeping synths and warped ad libs warp Brazilian funk. The display is tasteful and astute.
