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Andy Stott
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Key Information

Andy Stott is a British electronic musician and producer, living in Manchester.[1]

Biography

[edit]

Stott's debut album was Merciless (2006),[2] followed by Unknown Exception in 2008.[3] The EP Passed Me By (2011) marked a significant change in his sound; it has none of the elements of his previous dub techno release, opting for a much more bass-heavy sound.[4] He then released the EP We Stay Together (2011).[5] The album Luxury Problems was released in 2012.[6] Luxury Problems received top album awards from both Resident Advisor[7] and Pitchfork.[8]

Stott has undertaken several productions under the moniker Andrea and these works were released on Daphne, a sublabel of Modern Love.[9] Most of this work is in association with Miles Whittaker (who releases music as MLZ, with Pendle Coven, and as one half of Demdike Stare) who used the moniker Millie in the recordings[10] and were released as Millie & Andrea. In 2012, Stott collaborated with the Brooklyn duo The Hundred in the Hands remixing Keep It Low[11][12] from their 2012 album, Red Night.[13] In March 2014, Millie & Andrea released Drop the Vowels.[14][15]

Under his real name, Stott also released Faith in Strangers (2014),[16] Too Many Voices (2016),[17] It Should Be Us (2019),[18] and Never the Right Time (2021).[19]

Artistry

[edit]

Stott analogises making music to a scientist creating compounds, by figuring out formulas that use studio gadgets and parts of other music.[20] He never borrows inspiration from his personal experiences when he produces material.[20] As Zach Sokol explained when he interviewed Stott in 2016, "his music draws from where he's at creatively, functioning as a reflection of whatever curiosity is currently making the gears in his head churn."[20] When creating albums, he also tries to make each track have a very different aesthetic by using a variety of equipment and musical influences.[20] As he explained, "I go to the studio and I don't mess around, but at the same time, I don't really know what's going to come out."[20] Modern Love boss Shlom Sviri also contributes suggestions and ideas to Stott when he creates tracks and sequences the order of songs on his LPs.[20]

All of Stott's work touches on many types of experimental styles and genre.[21][22] Tiny Mix Tapes writer Birkut analysed Stott's works employ neo-futuristic themes and are hard to label in specific genres because they are "shifting disfiguration of Detroit techno, grime, house, and industrial music."[23] Stott's music contains a melodic structure that has been compared by multiple critics to Cocteau Twins and Dead Can Dance.[21] A trademark element in his works is the use of rhythms that are slightly off beat, which often gives the tracks a feeling of anxiety.[21]

Since Luxury Problems, vocals from Stott's former piano teacher Alison Skidmore appear on his music,[24] and numerous pieces about Stott's second, third and fourth studio albums highlighted, as well as praised, the interplay between the menacing instrumentals and the light tones of Skidmore's singing.[4][22][25][26] The vocals have a bright pop tinge[21] and an ethereal tone that contradict the otherwise sinister vibe of the instrumentals.[24] As Stott discussed creating Luxury Problems, "when it was suggested that I use a vocalist, I was worried that it would sound different to the normal way that I write tunes, but when I heard that bass coming from the speakers, that visceral bass, I knew that I still wanted that undertone as a counterpoint to her vocals."[24]

An Electronic Beats review of Luxury Problems described its sounds as presenting "the beautifully decayed aura of concrete and chrome, halogen and grime—the soul of a heaving, monstrous city at twilight, equal (yet often struggling) parts fragile light and enclosing darkness."[25] Writing a PopMatters article about Too Many Voices, Alex Franquelli wrote that "patches of comfort" are included for the "sole purpose of creating an imbalance that makes the darker elements stand out and shine in all their misty glare."[26] Reed Scott Reid's review of Luxury Problems for Tiny Mix Tapes analyse it "represents an apogee of scruffy elegance, curdled rhythms growling within the crumbling masonry of its bitworn shunt."[27] He wrote the vocals "dimly illuminate a pervasive auroral gloom, shafts of ecru and dun mottled with putrescent tinctures; a mournful, angelic presence – a long-deceased sacristan, perhaps – bleeding through the aether as faint drumsteps crack gravel."[27]

Personal life

[edit]

Stott is married, and has a son who was born in July in 2012.[28]

Discography

[edit]

Solo albums

[edit]
List of studio albums, with chart positions
Title Year Peak chart positions
UK
Indie
Break
[29] 		BEL
(VL)
[30] 		US
Heat
[31] 		US
Dance/
Elect
[32]
Merciless 2006 — — — —
Unknown Exception 2008 — — — —
Luxury Problems 2012 — 167 44 24
Faith in Strangers 2014 11 140 — 18
Too Many Voices 2016 — 101 — 11
Never the Right Time[33] 2021 — — — —

Collaborative albums

[edit]
  • Drop the Vowels (with Miles Whittaker, as Millie & Andrea; 2014)

EPs

[edit]

Singles

[edit]

As Andy Stott[34]

  • "Ceramics" (2005)
  • "Choke" / "For the Love" (2006)
  • "Merciless" (2006)
  • "Handle with Care" / "See in Me" (2007)
  • "Hostile" (2007)
  • "Brief Encounter" / "Dripping" (2009)
  • "Tell Me Anything" / "Love Nothing" (2010)
  • "Anytime Soon" (2013)
  • "Out (Version)" / "Love (Version)" (2014)

As Millie & Andrea

  • "Black Hammer" / "Gunshot (Stripped)" (2008)
  • "Spectral Source" / "Ever Since You Came Down" (2009)
  • "Temper Tantrum" / "Vigilance" (2009)

As Andrea

  • "You Still Got Me" / "Got to Forget" (2010)
  • "Retail Juke" / "Write Off" (2010)

Remixes

[edit]
  • Holy Other — "Know Where (Andy Stott Remix)" (2011)
  • Hatti Vatti — "Great (Andy Stott Remix)" (2011)
  • The Hundred in the Hands — "Keep It Low (Andy Stott Remix)" (2012)
  • Blondes — "Pleasure (Andy Stott Remix)" (2012)
  • False Idols — "Valentine (Andy Stott Remix)" (2013)
  • Batillus — "Concrete (Andy Stott Remix)" (2013)
  • Panda Bear — "Boys Latin (Andy Stott Remix)" (2015)
  • Martin Gore — "Europa Hymn (Andy Stott Remix)" (2015)

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Andy Stott

View on Grokipedia
from Grokipedia
Andy Stott is a British electronic music based in , renowned for his innovative work in and experimental electronic genres. Emerging in the mid-2000s, Stott debuted on the Manchester-based Modern Love label with his first release, the Ceramics EP in 2005, followed by the album Merciless in 2006, which established his early sound rooted in the dub techno traditions of Berlin's collective. His music initially featured intricate, atmospheric rhythms and deep basslines, blending , , and electro elements. Over the subsequent decade, Stott's style evolved toward slower, more introspective and textured compositions, incorporating glitchy electronics, hazy synths, and manipulated vocals, often in collaboration with singer Alison Skidmore. albums such as Luxury Problems (2012), featuring the acclaimed track "Numb," Faith in Strangers (2014), Too Many Voices (2016), Never the Right Time (2021), and the charity cassette The Slow Ribbon (2022) of unreleased recordings showcased this progression, drawing comparisons to artists like and Demdike Stare while exploring themes of isolation and dread through inverted track structures and mercurial bass. He has also worked under the alias and as part of the project Hate, further diversifying his output within the electronic scene.

Biography

Early Life and Influences

Andy Stott was born and raised in , a working-class town just outside , , in a region historically tied to the cotton-spinning industry that fostered a gritty, industrial atmosphere. This northern environment, with its overcast weather and close-knit communities, immersed him in the vibrant undercurrents of Manchester's evolving music scenes from a young age. Growing up in such a setting shaped Stott's affinity for electronic music, drawing him toward the raw energy of local sounds amid the socioeconomic fabric of the area. During the , Stott's early exposure to Manchester's culture came indirectly through tapes and radio, as he was too young to attend clubs firsthand but became a dedicated listener to the era's , , and emerging hardcore genres. Friends shared stolen cassettes of 1990–1991 jungle and hardcore tracks, which he meticulously copied and analyzed on his way to , sparking his fascination with the pulsating rhythms of the local scene. Venues like in and introduced him to the city's electronic pulse, where he encountered imports from artists such as , whose innovative bass-heavy productions exemplified Manchester's contributions to UK and . This period's blend of gritty club atmospheres and accessible recordings laid the groundwork for his appreciation of rave's communal and experimental spirit. As a self-taught without formal education, Stott began experimenting with music as a teenager, initially influenced by hip-hop's beats before shifting to electronic forms. At around age 12 or 13, he convinced his parents to buy him a keyboard or , using it to replicate the riffs and melodies from hardcore tapes he heard on local radio and from peers. In school, he played keyboards to mimic the sounds of those recordings, later acquiring a computer with basic music software and affordable synths like the D10 to explore production independently. He abandoned early lessons at his teacher's encouragement to pursue self-directed , honing skills that evolved into an interest in through trial and error. Stott's key early inspirations included the metallic, futuristic strains of pioneers, whose records he emulated in his initial experiments, alongside elements that emphasized deep, atmospheric grooves. sounds from and hardcore further captivated him, providing heavy, subaquatic textures that resonated with Manchester's rainy, introspective vibe. Additionally, industrial undertones from local bands like infused his developing aesthetic with a sense of brooding tension and emotional depth, reflecting the city's rich musical heritage.

Career Beginnings

Andy Stott entered the music industry in with the release of his debut EP, Replace, on the Manchester-based Modern Love label, transitioning from informal to a formal label debut that showcased his emerging dub-influenced sound. This four-track 12-inch, featuring cuts like "Replace" and "," marked his introduction to the electronic underground, guided by mentorship from Claro Intelecto and connections within the local scene. In 2006, Stott released his first full-length album, , on Modern Love, a collection of ten high-quality tracks that refined his atmospheric, bass-heavy style while drawing from and influences. The album, pressed on double 12-inch vinyl and CD, highlighted his prolific output following the EP, with tracks such as "Merciless" and "Jigsaw" earning praise for their smooth, immersive production amid the niche electronic landscape. Stott's follow-up release, the 2008 compilation Unknown Exception (Selected Tracks Vol. 1), further expanded his experimental electronic palette, compiling material from prior EPs and introducing more varied dub-house and elements that garnered growing underground attention. This twelve-track CD and digital set, including standout pieces like "Fear of Heights" and "Handle with Care," solidified his reputation within Manchester's electronic circles, though limited promotion kept his reach confined to a dedicated niche audience without mainstream exposure. Throughout these early years, Stott faced challenges typical of the electronic scene, including sparse marketing resources and the task of cultivating listeners in a fragmented market dominated by larger genres. His key relationship with Modern Love founder Shlom Sviri proved instrumental, providing consistent support and creative direction that enabled Stott to build a foundational catalog despite these hurdles.

Breakthrough Period

Andy Stott's breakthrough came in 2011 with the release of the Passed Me By EP on Modern Love, which introduced bass-heavy, elements that marked a significant sonic pivot from his earlier roots. The EP, released on May 12, 2011, featured tracks like "New Ground" and "Signature," blending thorny low-end bass with and influences, creating a darker, more experimental sound that diverged from the genre's typical sleekness. This shift toward adventurous, pitch-black soundscapes earned critical praise for its innovative fusion of dubstep's weight with Stott's established atmospheric style. Building on this momentum, Stott's 2012 album Luxury Problems, also on Modern Love, further solidified his rising profile by incorporating ethereal vocals from his former piano teacher, Alison Skidmore, across five tracks. Released on November 6, , the album explored haunting, reverb-drenched compositions that humanized his brooding electronic palette, with standout pieces like "Numb" weaving Skidmore's classically trained voice into assertive refrains. Its innovative blend of beauty and dissonance garnered major accolades, including Resident Advisor's #4 spot in their 2012 top albums poll and Pitchfork's Best New Music designation, alongside ranking #14 on Pitchfork's year-end list. In 2014, Faith in Strangers deepened Stott's industrial and house influences while continuing the vocal collaborations with Skidmore, releasing on Modern Love to further acclaim for its hypnotic, punishing electronic depth. The album, featuring tracks like the title song with its chiming melodies and hazy static, pushed his sound into more wrung-out, overburnt territories, maintaining the pitch-black intensity established earlier. This period also saw Stott's growing international presence through extensive tours and festival appearances, including sets at Moogfest in 2012, Roskilde Festival in 2013, and Rewire Festival in 2011, as well as Boiler Room performances in 2012 and 2014 that showcased his live prowess to global audiences. These outings, spanning Europe and North America, cemented his status as a key figure in electronic music's evolving landscape.

Recent Developments

In 2016, Andy Stott released Too Many Voices on Modern Love, an album that integrated elements of grime and hardcore techno through playful percussion and layered, ethereal vocals provided by collaborator Alison Skidmore, marking a shift toward airier yet textures in his dub-influenced sound. Stott's output continued with the 2019 double EP It Should Be Us, also via Modern Love, which adopted a raw, lo-fi approach amid the rise of streaming-dominated electronic music trends, emphasizing ghostly synths and introspective, club-ready rhythms that evoked without compromising his underground aesthetic. The 2021 album Never the Right Time, released on Modern Love during the , further explored themes of isolation through haunting , blending mechanical beats with mournful, hypnagogic atmospheres to create a cohesive yet varied nocturnal palette. In 2024, Stott issued the single Out (Version) / Love (Version) as a limited-edition 7-inch on Modern Love, revisiting dub and roots with skeletal drums, stabs, and deconstructed club elements for an adrenaline-fueled yet weightless vibe. Throughout this period, Stott has maintained a low-profile touring schedule, featuring experimental live sets at select venues and festivals, such as appearances in in late 2022 and planned events in 2025-2026, while remaining signed exclusively to the independent Modern Love label. Amid broader industry shifts toward streaming platforms, Stott has adapted by making his catalog available digitally while preserving an underground ethos through limited physical releases and avoidance of mainstream promotional cycles.

Artistry

Musical Style

Andy Stott's core musical style is rooted in , characterized by off-beat rhythms, heavy basslines, and neo-futuristic atmospheres that create a sense of spatial depth and tension. His tracks often feature a crackling dub texture and low-end bass that pulses with industrial severity, blending with organic shifts to produce a , groove-oriented sound. Over time, Stott's style has evolved from the minimal dub of his early 2000s releases, which emphasized sparse, gritty elements, to a more bass-driven approach in the , incorporating industrial and experimental rhythms. This progression reflects a shift toward slower, languid tempos and layered soundscapes, moving from club-focused minimalism to broader, atmospheric explorations that maintain a dark, immersive quality. Recent works, such as the experimental and outsider textures on The Slow Ribbon (2022) and the dancehall-infused, adrenaline-driven rhythms on the single Out (Version) / Love (Version) (), continue this evolution with versatile, rhythmic diversions. Signature elements in Stott's work include pitch-shifted vocals, often delivered by collaborator Alison Skidmore, which are manipulated to sound ghostly and ethereal, drenched in echoing reverb for added vulnerability and spatial effect. His melodic structures draw on looped and stacked vocal harmonies, creating an organic yet futuristic tension that evokes emotional weight without overt . Stott fuses foundations with influences from , grime, , hardcore, and , resulting in a shapeshifting sound that defies strict genre boundaries. These elements manifest in brash bass rollers, minimal reinterpretations, and goth-tinged electro-soul, allowing for versatile shifts between pulsations and industrial noise. This thematic consistency produces dark, immersive soundscapes that convey urban isolation and sonic experimentation, filling voids with melancholic wonder.

Production Techniques

Andy Stott approaches music production as an experimental akin to scientific tinkering, iteratively tweaking and patterns until they coalesce without adhering to rigid formulas. He has described this method as relying on "eureka" moments where elements align unexpectedly, often refining tracks over extended periods through . This solitary workflow unfolds in his home studio, where intuition guides creation rather than commercial pressures, allowing for organic evolution of ideas. Stott employs a mix of analog hardware and digital software to build his tracks. Key equipment includes analog synthesizers like the Roland SH-09 and for generating chords and synthetic elements, alongside the as a core for punchy bass and percussion sounds. He integrates field recordings captured via Zoom recorder or —such as metallic clangs from Manchester's Museum of Science and Industry or ambient workshop noises—directly into compositions for added texture. In , he layers these elements using stock effects and plugins like Slate Digital's VTM for tape emulation, pushing hardware through mixing desks to achieve warm distortion and organic feel. His techniques emphasize spatial and timbral manipulation to craft immersive, sub-heavy soundscapes. Stott frequently applies reverb, delay, and pitch-shifting (or bending) to create tension-release dynamics and "plasticine"-like elasticity in sounds, as heard in pitch-altered synths and vocals. Basslines are manipulated for deep, distorted drops via the Machinedrum's controls and outboard effects, while custom FX chains in enable flexible layering of loops and found sounds without over-reliance on presets. Since 2012, Stott has collaborated with vocalist Alison Skidmore, his former piano teacher, who records dry, performances—often with a for timing—that he then processes extensively. These vocals are spliced, layered, and treated in to form hypnotic, ethereal elements, such as mantra-like repetitions functioning as rhythmic components or atmospheric backdrops, adding a human contrast to his electronic palette. This method, evident from Luxury Problems onward, transforms raw inputs into manipulated, weightless textures integral to his tracks.

Collaborations and Side Projects

Andy Stott has engaged in several notable collaborations and side projects that extend beyond his primary solo work, often exploring experimental electronic terrains through partnerships and aliases. One significant collaboration is with producer Miles Whittaker, known for Demdike Stare, under the moniker Millie & Andrea. Formed in 2008, the duo initially released a series of 12" singles on Modern Love, blending elements of IDM, , and dubby textures. Their full-length album Drop the Vowels, released in 2014 on Modern Love, marked a revival of the project after a hiatus, featuring hollow dub influences and gritty sound design that merged Stott's progressive with Whittaker's experimental edge. Under the solo alias , Stott debuted with the You Still Got Me / Got to Forget 12" in on Daphne, a sublabel of Modern Love, delving into glitchy with sped-up vocal samples, dreamy pads, and cut-out drum loops reminiscent of early '90s dub experiments. This release followed earlier joint efforts as part of Millie & and showcased Stott's affinity for classic and deviant electro influences in a more streamlined form. A key ongoing partnership involves vocalist Alison Skidmore, Stott's former teacher, whose operatic, breathy contributions began with his 2012 album Luxury Problems and have continued across subsequent releases, adding ethereal depth to his bottom-heavy compositions. Skidmore's layered vocals, often processed for a haunting effect, appear on tracks like those from Faith in Strangers (2014) and Never the Right Time (2021), elevating Stott's productions with emotional resonance. Stott has also applied his production style to remixes for other artists, bridging electronic and noise genres. In 2012, he remixed The Hundred in the Hands' "Keep It Low" for Warp Records, infusing the track with his signature murky bass and reverb-heavy atmospheres. Extending into metal and noise crossovers, Stott remixed Batillus' "Concrete" in 2014 on Modern Love, transforming the heavy sludge metal original into a cavernous, dub-inflected electronic piece despite their divergent styles. While Stott maintains limited major joint projects post-2014, his long-standing friendship with producer Claro Intelecto dates back to their school days, with Intelecto serving as a mentor and leading to shared endeavors like the joint RA.088 podcast mix in 2008, which highlighted their mutual deep influences.

Discography

Studio Albums

Andy Stott's studio albums, all released on the Modern Love label, represent a consistent evolution in his electronic production, spanning foundations to introspective and industrial explorations, with eight full-length releases as of 2025. His debut, (2006), established Stott's early style through rumbling basslines and disorienting rhythms, highlighted by tracks such as "Sleepless" and "Open," which blend minimal percussion with eerie, ambient atmospheres. The album's thematic focus on rhythmic tension and serene paradox earned praise for its innovative edge in the scene. The 2012 album Luxury Problems marked a vocal breakthrough, incorporating manipulated samples from opera-trained singer Alison Skidmore on tracks including "N.H.S. Glory" and "Up the Hill," shifting toward haunting, slowed-down house and textures. Its themes of opulent decay and emotional depth garnered widespread recognition, including high critical scores for redefining Stott's oeuvre. Faith in Strangers (2014) delved into industrial depths with raw, echoing productions on highlights like the title track and "Damage," exploring alienation through distorted vocals and heavy percussion. The album's brooding, noir-inspired atmosphere solidified Stott's reputation for immersive, bass-heavy narratives. In Too Many Voices (2016), Stott integrated grime influences and fragmented vocal layers, as heard in "New Ogi" and "The Waiting Game," creating a tense, dialogue-like interplay amid club-oriented beats. This work's thematic emphasis on multiplicity and urban unease was lauded for its dynamic production evolution. It Should Be Us (2019), a double-length set functioning as a full despite its EP billing, returned to raw, club-focused with tracks such as "Real Close" and "One for ," evoking introspective longing through slowed tempos and visceral bass. Its themes of personal disconnection post-hiatus were noted for revitalizing Stott's foundational sound with contemporary grit. The pandemic-era Never the Right Time (2021) captured isolation through hazy, hypnagogic tracks like "The Haunting" and "Long Black" (featuring ), blending ambient introspection with subtle rhythmic pulses. This release's focus on temporal disorientation and subdued menace highlighted Stott's adaptive resilience, earning commendations for its cohesive mood. The Slow Ribbon (2022), a collection of previously unreleased material recorded between 2019 and 2022, features seven tracks of slow, experimental with rhythms and atmospheric textures, released to benefit humanitarian efforts in . Highlights include ambient explorations like "I" and "IV," emphasizing Stott's introspective style in a 40-minute set.

EPs and Singles

Andy Stott's EPs and singles represent a significant portion of his output, serving as platforms for sonic experimentation and refinement of his evolving style, often preceding or complementing his full-length . Primarily released on vinyl through the Modern Love label, these shorter formats emphasize club-oriented tracks with deep basslines and atmospheric textures designed for DJ play, totaling over 15 releases from 2005 to 2024. His release schedule has been irregular, with a burst of activity in the mid-2000s followed by sparser drops tied to cycles, allowing him to test influences and manipulations in a more immediate, track-focused manner. Stott's debut, the Replace EP (2005, Modern Love), introduced his early blend of , soulful house, and electro elements, marking a fresh entry into Manchester's electronic scene with tracks like "8ight" that fused glitchy abstraction and driving rhythms. This four-track 12" set the tone for his initial prolific phase, followed closely by singles like Ceramics (2005) and the Demon In The Attic EP (2005), which explored similar mid-tempo grooves with subtle soul inflections. By 2006–2007, releases such as Choke / For The Love (single), The Nervous EP, Fear Of Heights EP, Handle With Care / See In Me (single), The Massacre EP, and Hostile (single) intensified his leanings, incorporating heavier percussion and spatial reverb suited for warehouse environments, all on Modern Love vinyl pressings. A pivotal shift occurred with Passed Me By (2011, Modern Love), an EP that pivoted toward slower tempos and bass-heavy compositions, reimagining through viscous low-end and disembodied vocals across its seven tracks, totaling around 33 minutes. This release, often hailed for its intimate yet massive sound, tested the boundaries of club functionality with ominous pulses and lo-fi aesthetics, influencing subsequent works like the companion We Stay Together EP (2011), which delved deeper into cavernous, slowed-down structures. Under his alias, Riddim Changer (2007) offered a contrasting, more upbeat exploration of rhythmic variations, aligning with Stott's broader experimental ethos while maintaining ties to his core electronic palette. Later singles maintained this exploratory vein, with Night Jewel (2009), Brief Encounter / Drippin' (2009), Tell Me Anything (2010), and Anytime Soon (2013, [adult swim]) providing standalone vignettes of hazy, bass-driven electronica. Stott's most recent single, Out (Version) / Love (Version) (2024, Modern Love), a limited-edition 7" of 500 copies, signals a return to dub roots with asymmetric, pop-inflected diversions—his first standalone release in over a decade—featuring warped reggae echoes and concise, club-ready energy. These formats underscore Stott's vinyl-centric approach, prioritizing tactile, immersive experiences over digital ubiquity.
TitleYearFormatLabel
Ceramics2005Single (12")Modern Love
Replace EP2005EP (12")Modern Love
Demon In The Attic EP2005EP (12")Modern Love
Choke / For The Love2006Single (12")Modern Love
The Nervous EP2006EP (12")Modern Love
Fear Of Heights EP2007EP (12")Modern Love
Handle With Care / See In Me2007Single (12")Modern Love
2007EP (12")Modern Love
Hostile2007Single (12")Modern Love
Riddim Changer (as )2007EP (12")Modern Love
Bad Landing EP2008EP (12")Modern Love
Night Jewel2009Single (12")Modern Love
/ Drippin'2009Single (12")Modern Love
Tell Me Anything2010Single (12")Modern Love
Passed Me By2011EP (12")Modern Love
We Stay Together2011EP (12")Modern Love
Anytime Soon2013Single (Digital)[adult swim]
Out (Version) / Love (Version)2024Single (7")Modern Love

Remixes

Andy Stott has produced approximately 15-20 remixes for other artists since 2005, primarily within electronic, experimental, and circles, though extending to trip-hop, , and ambient genres. His remix work often transforms source material by layering dub-influenced echoes, submerged rhythms, and atmospheric tension, drawing from his signature production palette to create immersive, shadowy reinterpretations. Early remixes, such as his 2008 take on Vladislav Delay's "Recovery IDea," adhered closely to dub techno foundations, stripping the original's intricate textures into a hypnotic groove with metallic percussion and deep sub-bass, emphasizing propulsion over abstraction. By the early 2010s, Stott's contributions grew more nuanced; his 2011 remix of Holy Other's "Know Where" infused the track's haunting vocals with reverb-drenched pads and slow-building tension, bridging ethereal electronica with industrial undertones. That same year, his version of Hatti Vatti's "Great" (featuring Echo Ranks) added heavy, rumbling basslines and echoing delays to the dubstep-leaning original, enhancing its brooding intensity. Notable examples from 2012 include the remix of The Hundred in the Hands' "Keep It Low," where Stott introduced cavernous reverb and pulsating low-end to the indie-electronic track, evoking a sense of disorienting depth. Also in 2012, his rework of Blondes' "" amplified the house-inflected source with industrial edges and warped synths, creating a more claustrophobic, experimental vibe. Post-2012, Stott's remixes became increasingly bold and genre-blurring. His interpretation of Batillus' "" merged riffs with , overlaying the heavy guitars with bass and noise washes, resulting in a sinister, hybrid sound that highlighted his affinity for blending metal elements with electronic structures. Further evolution is evident in later works, such as the 2013 remix of Tricky's "Valentine," which submerged the trip-hop track in foggy dub atmospheres and subtle industrial percussion for a more introspective feel. In 2015, Stott's version of Martin Gore's "Europa Hymn" (under MG) incorporated swirling reverb and muted beats, transforming the synth-pop instrumental into a meditative excursion. His 2021 refix of Arthur Russell's "Home Away From Home," released on his own album Never the Right Time, applied heavy bass and echoing vocals to the avant-garde original, emphasizing emotional resonance through minimalistic production. By 2018, the remodel of Ryuichi Sakamoto's "Life, Life" from the async remodels collection pushed boundaries further, integrating ambient piano motifs with Stott's industrial dub twists for an experimental, noise-tinged abstraction. These later efforts reflect a shift toward more deconstructive and cross-genre approaches, often prioritizing sonic immersion over fidelity to the original.

Personal Life and Legacy

Family and Privacy

Andy Stott has long maintained a low public profile, avoiding extensive personal exposure in favor of focusing on his music. He has described struggling with interviews, noting, "I find it difficult talking about myself." While he maintains a professional presence on through his Modern Love, Stott rarely shares personal details and has given few in-depth discussions of his private life in the press. Stott is married to his long-term partner, with the wedding occurring two days before the 2014 release of his album Faith in Strangers. The couple welcomed a son in the summer of 2012, coinciding with the release of Luxury Problems. This period of new fatherhood directly inspired elements of the album, including the track "Expecting," written during his partner's pregnancy, and "Sleepless," which captured the fatigue of caring for an infant. The arrival of his son influenced Stott's approach to his career, as he balanced studio work, recording, and touring with family responsibilities during this time. In a rare press mention, he described managing gigs and music production alongside newborn care, highlighting the challenges of early parenthood. Stott continues to live a reclusive life in , based in the city's industrial districts, where he prioritizes privacy and immersion in his creative process away from industry demands.

Critical Reception and Impact

Andy Stott's work has been widely praised for its innovative fusion of , , and slowed-down elements, earning acclaim for pushing the boundaries of electronic music's emotional depth and textural complexity. His 2012 album Luxury Problems received particular recognition, scoring 8.7 out of 10 from , which designated it Best New Music and highlighted how Stott "humanized his sound, made it more beautiful and richer on the surface while further accentuating its dark heart" through vocal manipulations and atmospheric layering. The album also featured prominently on year-end lists, ranking third on 's Top 50 Albums of 2012, fourth on Resident Advisor's Top 20 Albums of 2012, and eighteenth on The Wire's Top 50 Releases of 2012. Stott's contributions have been honored in broader electronic music accolades, including Resident Advisor's Album of the Year award in 2014 for Faith in Strangers, reflecting his sustained critical momentum. Additionally, Luxury Problems was included in DJ Mag's list of electronic albums that defined the 2010s, underscoring its role in shaping the decade's underground soundscapes. His influence extends to the and scenes, where his brooding, immersive productions helped bridge club-oriented rhythms with experimental , as seen in the evolution of genres during the . As of 2025, Stott remains a figure in underground , with enduring appeal in experimental and club circuits through ongoing performances at events like the Durations festival. His music's cross-genre reach, incorporating and industrial textures, has inspired artists in adjacent fields, though it has not achieved significant mainstream crossover. In 2024, a vinyl reissue of Faith in Strangers was released. While lauded for its profound depth, some critics have noted occasional challenges with accessibility, describing early works like Passed Me By and We Stay Together as "tough listens" due to their dense, restrained atmospheres. Overall, Stott's output is celebrated for its innovative restraint and emotional resonance within niche electronic communities.

References

  1. https://www.discogs.com/artist/317019-Andy-Stott
  2. https://pitchfork.com/reviews/albums/andy-stott-never-the-right-time/
  3. https://www.allaboutjazz.com/musicians/andy-stott
  4. https://ra.co/dj/andystott
  5. https://www.vice.com/en/article/a-night-out-in-manchester-with-andy-stott-and-demdike-stare/
  6. https://www.insomniac.com/music/artists/andy-stott/
  7. https://ravelinmagazine.com/posts/faith-in-andy-stott/
  8. https://ra.co/features/1933
  9. https://open.spotify.com/artist/6BuDxEE5rfuYeyhxQsl53K
  10. https://boomkat.com/products/replace-ep-e6077a17-9015-41a9-8a8f-92a029293310
  11. https://www.astralpeople.com/tours/andy-stott-may-2014
  12. https://www.discogs.com/master/31620-Andy-Stott-Merciless
  13. https://igloomag.com/reviews/andy-stott-merciless-modern-love-cd2lp
  14. https://www.gridface.com/andy-stott-merciless/
  15. https://www.discogs.com/release/1440051-Andy-Stott-Unknown-Exception
  16. https://boomkat.com/products/unknown-exception
  17. https://igloomag.com/reviews/andy-stott-unknown-exception-modern-love
  18. https://consequence.net/2016/04/bunker-to-banger-andy-stotts-decade-long-rise-in-underground-techno/
  19. https://www.discogs.com/release/2879114-Andy-Stott-Passed-Me-By
  20. http://cokemachineglow.com/records/andystott-passed-2011/
  21. https://www.gridface.com/andy-stott-passed-me-by/
  22. https://newrepublic.com/article/110026/the-masterful-dub-techno-andy-stott
  23. https://ra.co/features/1704
  24. https://pitchfork.com/reviews/albums/17205-luxury-problems/
  25. https://pitchfork.com/features/lists-and-guides/9465-the-100-best-albums-of-the-decade-so-far-2010-2014/
  26. https://www.discogs.com/master/759305-Andy-Stott-Faith-In-Strangers
  27. https://spectrumculture.com/2014/12/04/andy-stott-faith-strangers/
  28. https://www.npr.org/2012/10/31/163243014/andy-stott-in-concert-moogfest-2012
  29. https://www.youtube.com/watch?v=inMEue4MD5A
  30. https://www.rewirefestival.nl/artist/andy-stott
  31. https://boilerroom.tv/audio/andy-stott-live-in-the-boiler_room/
  32. https://ra.co/dj/andystott/past-events
  33. https://pitchfork.com/reviews/albums/21833-too-many-voices/
  34. https://crackmagazine.net/article/album-reviews/andy-stott-many-voices/
  35. https://boomkat.com/products/too-many-voices-cf7f1fcb-eb06-4455-bd86-0aaad1b76cce
  36. https://inverted-audio.com/review/andy-stott-it-should-be-us/
  37. https://www.albumoftheyear.org/album/190490-andy-stott-it-should-be-us.php
  38. https://ra.co/reviews/24430
  39. https://thequietus.com/quietus-reviews/andy-stott-never-the-right-time-review/
  40. https://www.popmatters.com/andy-stott-never-right-time
  41. https://inverted-audio.com/review/andy-stott-never-the-right-time/
  42. https://boomkat.com/products/out-version-love-version
  43. https://www.soundohm.com/product/out-version-love-version
  44. https://rateyourmusic.com/release/single/andy-stott/out-version-love-version.p/
  45. https://ra.co/dj/andystott/tour-dates
  46. https://www.songkick.com/artists/355537-andy-stott
  47. https://bleep.com/artist/9714-andy-stott
  48. https://spectrumculture.com/2016/05/02/andy-stott-too-many-voices/
  49. https://musicmattersmedia.com/2021/02/28/andy-stott-hauntingly-beautiful-electronic-production/
  50. https://www.popmatters.com/andy-stott-too-many-voices-2495430806.html
  51. https://dustedmagazine.tumblr.com/post/143584263548/andy-stott-too-many-voices-modern-love
  52. https://www.discogs.com/master/2555726-Andy-Stott-The-Slow-Ribbon
  53. https://openlab.fm/news/aotw-andy-stott-never-the-right-time
  54. https://www.vice.com/en/article/andy-stott-too-many-voices-feature-interview/
  55. https://www.52-insights.com/andy-stott-searching-for-the-perfect-sound-music-electronic/
  56. https://xlr8r.com/gear/in-the-studio-andy-stott/
  57. https://exclaim.ca/music/article/andy_stott_on_how_drum_machine_changed_his_life
  58. https://www.treblezine.com/19848-andy-stott-interview/
  59. https://pitchfork.com/features/update/8973-andy-stott/
  60. https://www.textura.org/archives/s/stott_luxuryproblems.htm
  61. https://pitchfork.com/reviews/albums/19147-millie-andrea-drop-the-vowels/
  62. https://ra.co/dj/millieandrea
  63. https://www.vice.com/en/article/exclusive-listen-to-millie-andreas-drop-the-vowels-lp/
  64. https://www.littlewhiteearbuds.com/review/andrea-you-still-got-megot-to-forget/
  65. https://www.discogs.com/artist/1257152-Andrea-29
  66. https://www.juno.co.uk/junodaily/2014/03/31/millie-andrea-drop-the-vowels/
  67. https://www.npr.org/2014/11/09/361384510/first-listen-andy-stott-faith-in-strangers
  68. https://drownedinsound.com/releases/17307/reviews/4145657
  69. https://www.stilllisteningmagazine.com/reviews/andy-stott-never-the-right-time-review
  70. https://warprecords.bandcamp.com/track/keep-it-low-andy-stott-remix
  71. https://www.silentradio.co.uk/05/17/news-the-hundred-in-the-hands-andy-stott-remix-video-tour-dates/
  72. https://www.forcedexposure.com/Catalog/stott-andy-batillus-concrete-andy-stott-remix-12-/LOVE.095EP.html
  73. https://thequietus.com/interviews/claro-intelecto-interview-reform-club/
  74. https://soundcloud.com/resident-advisor/ra088-andy-stott-claro-intelecto
  75. https://ra.co/reviews/4171
  76. https://www.popmatters.com/andy-stott-merciless-2495692322.html
  77. https://www.albumoftheyear.org/album/4360-andy-stott-luxury-problems.php
  78. https://www.albumoftheyear.org/album/20712-andy-stott-faith-in-strangers.php
  79. https://www.forcedexposure.com/Labels/MODERN.LOVE.UK.html
  80. https://www.forcedexposure.com/Artists/STOTT.ANDY.html
  81. https://pitchfork.com/reviews/albums/andy-stott-it-should-be-us/
  82. https://music.apple.com/us/album/it-should-be-us/1486934069
  83. https://boomkat.com/products/the-slow-ribbon
  84. https://www.discogs.com/artist/317019-Andy-Stott?type=Releases&subtype=Singles-EPs&filter_anv=0
  85. https://www.discogs.com/release/457484-Andy-Stott-Replace-EP
  86. https://www.discogs.com/master/338786-Andy-Stott-Passed-Me-By
  87. https://pitchfork.com/reviews/albums/15447-passed-me-by/
  88. https://www.discogs.com/master/373491-Andy-Stott-We-Stay-Together
  89. https://www.sputnikmusic.com/review/43897/Andy-Stott-Passed-Me-By/
  90. https://www.discogs.com/release/29855944-Andy-Stott-Out-Version-Love-Version
  91. https://ra.co/reviews/5202
  92. https://pitchfork.com/reviews/tracks/16414-batillus-concrete-andy-stott-remix/
  93. https://www.discogs.com/release/1379560-Vladislav-Delay-Recovery-Idea-Part-Two
  94. https://www.discogs.com/release/16024453-Various-Tri-Angle-Records-2011-And-Beyond
  95. https://www.discogs.com/release/3133052-Hatti-Vatti-Feat-Echo-Ranks-Great
  96. https://blondes.bandcamp.com/track/pleasure-andy-stott-remix
  97. https://www.discogs.com/release/5167104-Batillus-Concrete-Andy-Stott-Remix
  98. https://tricky.bandcamp.com/album/valentine-andy-stott-remix
  99. https://www.discogs.com/release/7415891-MG-Europa-Hymn-Andy-Stott-Remix
  100. https://ra.co/reviews/26082
  101. https://www.discogs.com/release/11613117-Ryuichi-Sakamoto-Async-Remodels
  102. https://www.treblezine.com/andy-stott-the-beginning-essential-track/
  103. https://www.instagram.com/andystottmlove/
  104. https://www.juno.co.uk/junodaily/2012/11/14/solving-lifes-luxury-problems-an-interview-with-andy-stott/
  105. https://pitchfork.com/features/lists-and-guides/9017-the-top-50-albums-of-2012/
  106. https://www.thewire.co.uk/issues/charts/top-50_albums-of-the-year-2012
  107. https://ra.co/features/2332
  108. https://djmag.com/longreads/dj-mags-definitive-electronic-albums-decade
  109. https://soulfeederweb.com/blog/how-burial-and-jamie-xx-broke-the-uk-scene-the-post-dubstep/
  110. https://publicrecords.nyc/events/durations-andy-stott-carrier/
  111. https://www.discogs.com/release/32471577-Andy-Stott-Faith-In-Strangers
  112. http://www.dustedmagazine.com/reviews/7445
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