exm & Roel Funcken :: Cilcit (Touched Music)

Evolving IDM that rewards attentive listening

Cilcit arrives on Touched Music as one of the most intriguing IDM releases of the year, and for good reason. exm is no stranger to the IDM scene. The Netherlands-based producer has been quietly releasing material since 2013, building a catalog that leans heavily on Autechre-influenced sound design: glitchy, abstract, heavily processed, but with a melodic undercurrent that keeps things from spiraling into pure noise. Roel Funcken, on the other hand, is a veteran in the electronic music scene. One half of the Dutch duo Funckarma (alongside his brother Don), Roel has been releasing music since 1999 on labels like Skam, Warp, and n5MD. Funckarma‘s early work helped define the second wave of IDM, intricate, dub-inflected, heavily textured productions that balanced complexity with warmth. Over 50 albums and EPs later, Roel branched out as a solo artist in 2010, continuing the mutating rhythmic frameworks and cinematic ambient textures Funckarma is known for. The pairing of exm and Roel on Cilcit makes sense, both artists excel at detailed, evolving IDM that rewards attentive listening.

The album opens with “Lvid,” a runtime of 11:18. What a beautiful piece. The synths and melodies here are mesmerizing and remind me of that classic IDM feel, the kind of thing you’d hear on mid-period Autechre or early Funckarma. The transitions in the piece are very unique. exm is known for his mastery in this, keeping you engaged, making sure no minute sounds the same as it progresses. Everything is intentional and different as it builds. The track doesn’t stay the same. It morphs and changes character right in the middle, building anticipation all the way to the very end where its arc moves from happy to dark. This is exm‘s signature approach: constant evolution within a single track, preventing stagnation.

It’s hard to pick a favorite here. These tracks are beautifully produced, full of glitches and fun melodies. “Niddle” has a lot of fun pieces to it. The stutters and delays on the drum work are absolutely fantastic and driving. There isn’t a dull moment in the first opening of these tracks, and it’s the type of work you can hear again and again and catch different things to appreciate in it. A lot of good stutter rhythms here, and synth work that gives it a nostalgic IDM sound, the kind of thing that would’ve fit comfortably on a Skam or Warp compilation in the early 2000s.

“Oda” is another great one. Dark in its introduction, but these really catch the ear. Those who like Autechre‘s “Gelk,” or tracks like “Squeller” or “Left Blank,” this is the type of vibe I’m getting. And they do it so uniquely well that it feels like a missed and forgotten sound. This just sounds so much fresher and in a new way. It’s not derivative, it’s taking that DNA and pushing it somewhere else.

“Radture’s” beat is captivating, and the reverb stabs of pads in the background make it so enjoyable to listen to. Reverb stabs are a subtle technique. When done right, they add depth and feeling to a track without distracting from what’s happening. They pull you in rather than push you away. It’s a teasing technique in this piece, just enough to keep you hooked. But the track gives a great turnaround at its 06:57 mark, and it really gets better. Again, this is exm‘s mastery here. It’s like with a flip of a switch he gives you an alternate version of the beat that sounds angrier and heavier, with variations of things and patterns you would have never thought. This is what makes listening to this fun. You’re never quite sure where it’s going.

No minute sounds the same ::

“Lo” is another genre camp of its own when it comes to the album’s sound overall. A lot of what came from the beginning of the tracks doesn’t build to this. Again, you sort of think about what else these two have up their sleeve when you listen. To me, it serves as a late interlude track in the mix because of how different it is, but it still has the loud and proud drums and hits with melodic stabs. Its ending really takes you by surprise in its peacefulness as it’s glitching and phasing out at the same time.

“Phaphe tulct” is just a beautiful closer, but it doesn’t feel like one. It’s a beast at its runtime of 17:06. It’s the longest piece on the LP, and this is something that really stands out from the rest of the tracks when it comes to phases. The introduction is beautifully crafted with glitched drums, rhythms, blips, and screeches throughout, accompanied by a beautiful fading atmospheric pad that is just so soothing and haunting at the same time. At the 6:30 mark, the drums start to change and shift, still utilizing the same exact beat and atmospheres but with different drum sounds. It sounds like a new track is coming into the mix, but it’s the same track. A good fusion too. I’ve always enjoyed different variations of hi-hats in these types of tracks, and this one serves well, with the range of pitch of the hats being played here. The technique they use is fun and interesting. And they end the track very well with ambience. It’s actually a peaceful setting and a perfect ending.

The album leaves you wanting more. You’re not sure what to think afterward other than to hear it again. It’s such a good release. Touched Music has been doing this for over a decade now, and they’ve built a reputation for curating compilations and releases that sit at the top tier of contemporary IDM. Cilcit is no exception. This is easily one of the most exciting and great releases of 2026 and an enjoyable listen for a lot of IDM fans.

Cilcit is available on Touched Music. [Bandcamp]