Welcome to "Milgram's Jukebox." Every so often, we play a music critic random tracks from an album which they're asked to identify and comment on-- with no prior knowledge of what they're about to hear. To make things interesting, we wire the interviewee with electrodes that deliver an electric shock of increasing voltage for every wrong answer. This week's victim is Pitchfork writer Mark Richard-San.

Slicker's "7Words," from the 2001 album The Latest

Richard-San: Fat bass droning underneath, driving the tune. Glitchy drums that move forward in fits and starts, propulsive 4/4 bass drum. Could it be a Two Lone Swordsmen remix? Something from Further Reminders?

[bzzt]

Richard-San [mild wince]: Oooh!

Milgram's Jukebox: No. Not quite. Let's try another.

"Hold Right"

Richard-San [instantly]: Ah, that delicate, ringing synth loop-- sounds like Wolfgang Voight. Gorgeous. Too squiggly for Gas, but definitely trying to get some of that glowing techno beauty. I like the piano flourishes. Never congeals into a regular rhythm, though, even though it constantly threatens to. Works well with the static and glitches, warming the noise a bit. Still not sure, though. Another track, please?

"Red Track"

Richard-San [2½ minutes in]: Hmm... okay... definitely Teutonic dub. Too sophisticated for something like Ras Command. It's got the liquid bass, the lazy upbeat rhythm, the echo effects and massive reverb. Very Mouse on Mars here, but Iaroa Tahiti-style, with more modern technology. From this year, I think. I'd guess it's from Cologne. Maybe Düsseldorf.

[bzzzt]

Richard-San [groans]: Mmph. Not so bad, a bit like a joy buzzer.

Milgram's Jukebox: Yes, well... right year, wrong country.

Richard-San: Cue another track. I'm sure I'll get it.

"FrustRache"

Richard-San: Sophisticated programming. It's definitely not American, although...

Milgram's Jukebox: It is American.

Richard-San: Okay... it could very well be American, yes. West Coast, I would think. The Berlin-Frisco connection...

Milgram's Jukebox: No. Midwest.

[bzzzzchzxcz]

Richard-San [moaning]: Ahhhoww... Christ! Mid... Midwest, of course. It seemed at first that there was too much space for it to be American, but now I can hear it. It takes some guts to leave that fat synth sound all by itself during that opening. I love it. It just keeps stretching with nothing surrounding it but air. And then when the drums and bass come in, the space remains cavernous. Nice bubbly bassline throughout. It reminds me of a Pole dub-plate cleaned up with Sonic Solutions. Terrific.

Milgram's Jukebox: Is this your favorite thus far?

Richard-San: Absolutely. Next track, if you would.

"Oper Huru"

Richard-San: Okay, yeah, now I'm hearing the Chicago. That's definitely organ, guitar and piano in there. Good off-kilter melody, laidback with some quiet intensity. Filling in the cracks is that meandering static. Seems inspired by a film soundtrack, something creepy. This isn't far from Tortoise. Some kind of side project, perhaps. Is it Isotope 217?

[bzzsdszzzxchiskihxisdh]

Richard-San [shrieks]: Gnnnnnnnnnpphhhhhh!! Holy Mother! Listen, I have a heart condition, okay?

Milgram's Jukebox: This review requires that we must continue.

Richard-San [breathing heavily]: I'm not sure I can make it. Look, I like this album. Sounds like fine, melodic laptop music with plenty of instrumental accents. What is it?

[bzzzzzschkncraksohwowhir]

Richard-San: [body convulsing too tightly to comment]

Milgram's Jukebox: The review requires that we must continue. I'll give you a hint: you reviewed their remix record, and said you liked it.

Richard-San: For the love of God! I just bit off part of my tongue!

Milgram's Jukebox: Name the artist, please.

Richard-San: I reviewed it, okay. Wait! Slicker! The Latest!

-Mark Richard-San