More pow than Batman: some singles from Ikonika, Falty DL and James Blake

Because I went a bit flappy on maintaining this blog for a while, I'm a bit behind on my single reviews. Here are three quick ones to keep you going while I sort out the other 3,927 I have in my to-do pile.

On an unrelated note, while the MPs aren't looking, can someone install Aaron Funk of Venetian Snares as prime minister, please?

Ikonika

I'm not sure if I've waffled about Ikonika's new album yet. I will do, but in the meantime, Idiot is worth grabbing. Its punchy Nintendo lead is rooted in a rolling bass, a contrast that is amplified by the Altered Natives remix - a track with more pow than Batman thanks to a repeating descending fill that sounds like someone's spilling LFOs.

Falty DL

Falty DL's All In The Place is not dubstep. Repeat. Falty DL's All In The Place is not dubstep. Let's stop calling everything dubstep, shall we? It is probably acid techno and it's all a bit ho hum - choppy synths, bouncy bassline, loadsa reverb - until he allows a muggy rave line pull the tune into fantastic, foggy Aphex territory.

James Blake 

James Blake, who has made his name touring with Mount Kimbie, sounds like he was in 1995 listening to an ethereal moment on Goldie's Timeless before jumping through a time tunnel to provide us with his sad, liquid r'n'b-tinged grime-tech. See if you can spot the Aaliyah and Kelis samples on his essential Cmyk EP.

Bored at Rustie, tapey-fingered whingers and stuffed lycra

Hello, December, you snowbag of Christmas fun, you.

Here are some things you may have missed recently, mainly because my Twitter account has shrivelled and died and so your premier source of electronica information has stopped. In fact, you've probably been so bereft without me tweeting, you're no doubt huddled in a corner shivering and dribbling.

- Rustie has dropped a bomb in the shape of a Crookers' No Security remix. Legendardy squawkbox Kelis has sassed herself all over this track, and her vocals work well with his computer-game take on the track. Having said that, it's the first thing Rustie has done that has bored me a little. (Crookers pictured above.)

- The Grauniad has been musing on the death of hip hop. Writer Simon Reynolds places it around the time of Nas' Hip Hop Is Dead, or maybe when Timbaland declared his love for tapey-finger stadium whingers Coldplay. He wins points for slagging off auto-tune, but loses points for using the dismal contraction 'slanguage' (surely, 'slang' would do?).He says:

"I still hear quite a lot of bump and skitter in street rap but there's a pedestrian familiarity to the beats: they do the job solidly enough but they're the rhythmic equivalent of comfort food, reflexively tugging at your hips and shoulders but never approaching the stark strangeness of early Noughties productions like Ludacris's What's Your Fantasy or J-Kwon's Tipsy."

I think he's got a point, although there's a danger in judging the healthiness of a scene based on what's in the charts. If you took that as a bellwether, most techno genres have supposedly never existed.

Still, I think there's a wider malaise: we haven't had a true musical revolution since rave. The Beatles made music fab, punk stuck a safety pin in that bubble, while rave danced all over the eighties' grave. What since? Drippy guitar geeks? Videos stuffed with girls in tight lycra? Susan Boyllocks?

- Finally, Eclectic Hermit has come back into the light, smothering us with some Ninja Tune scrumptiousness. Welcome back.