Poladroïd :: Roentgenizdat (Roulette Rekordz)
Poladroïd packs eight lean, muscular tracks with throbbing bass, fat drum-machine punch and just enough EBM grit to keep the whole thing moving.
Poladroïd packs eight lean, muscular tracks with throbbing bass, fat drum-machine punch and just enough EBM grit to keep the whole thing moving.
Across Another World, Artificial Island keep things measured and textural, allowing minute sounds, gentle rhythms and shifting layers to carry much of the album’s character.
The Cardboard Falcon is a profoundly vibrant, impressionistic, cinematic, slow-moving, and melodically oriented neoclassical album that will lead the listener to a state of serenity and contemplation.
This sprawling, sandblasted opus brings together a stellar constellation of avant-garde visionaries—Meat Beat Manifesto, Proswell, Cathode Ray Tube, AZ-Rotator, Rontronik, ΠΕΡΑ ΣΤΑ ΟΡΗ, Scape One, Roel Funcken, Deru, Kindohm, Vytear, and Robert Logan—each sculpting sound into surreal, shimmering form.
Bracaloni’s latest traverse moves through warm, spacious soundscapes built for getting lost within, where atmosphere lingers long after each piece fades.
Distort Everything Forever opens in ambience, spends most of its middle throwing rhythmic and low frequency chaos at you, then returns toward atmosphere at the end.
Multiple active listens never feel like a chore, and are instantly rewarded by the lavishness of the sounds and the cleverness of the compositions, bringing together awe, humor, and bewilderment. And what else can we ask of experimental music?
Everything about the sound design and palette of Window To Askoy seems suspended in the heat of summer rains and tropical smog. Yet it’s the soulful element that’s paramount: an exquisite melancholy and blessed-out bliss shape the ventricles and vessels of these lean cuts.
All in all, an emotionally intoxicating, bizarre yet alluring ghostly-ambient trip, augmented by dark clouds of noisy elements.
The Getaway could easily have stood on its own, but the remix sequence expands its central idea: fractured industrial sound behaving almost like an alien transmission, constantly mutating through minute edits, glitches, and rhythmic interference.
The Bug’s Ladybug 2 pairs his heavy, hypnotic bass pressure with Friday Night Plans’ hushed vocals, turning six versions of “Miss U” into a dark, immersive journey where dub, shoegaze, and electronic melancholy slowly dissolve into one hypnotic flow.
When the final sound fades, the small white emblem at the bottom of the cover comes to mind. A wave reduced to calligraphy, discreet while the blue occupies everything. Wind Paths works in much the same way: it passes through the listener, leaves behind a faint vibration and entrusts the air with carrying it away.
Hawgood has tied Folk Reels to the idea of a mobile archive, a repository for scattered works, old tapes and encounters. Live At Still Point 2026 introduces a welcome fissure into that archive. To preserve also means admitting loss and giving it an audible measure.
Giulio Aldinucci has made an album that seems acquainted with the unnamed part of human nature, the part that surfaces in sleep or in the few seconds before news capable of changing the course of a day.
Kim Cascone’s book Post-Digital Music gives sound artists the conceptual thought tools that help open up connective valves between the unconscious and conscious minds, stimulating the growth of imagination. This collection of essays is also essential reading for the continued critical discourse around issues of electronic music production and reception.