Experimental Electronic Music
After the success of Séptimo Sentido in 2024, I was eager to hear what Seph would deliver next. His latest release, Fiera, arrived sooner than expected—but rather than presenting a new creative direction, it offers a glimpse into earlier material from his vault. Naturally, I was curious to see how this project would compare.
What makes Second so effective is the trio’s experience. Vitiello, Canty, and Rowe each bring something refined and practiced to the table. The record is skillfully composed and beautifully produced, making it no surprise that it’s also deeply satisfying.
On Friday July 18th, I had the chance to see Kraftwerk live in Lajatico, Tuscany—a rare Italian stop on their European tour, and one of the most surreal concert settings imaginable. Performed at Andrea Bocelli’s hilltop Teatro del Silenzio, the show blended stunning visuals, razor-sharp sound, and decades of electronic music legacy into an unforgettable night.
Lake Haze trades in his signature atmospheric style for a funkier groove on his latest EP, Geonomic Fusion. Prioritizing acid leads and steady grooves, the Lisbon-based producer presents seven electro tracks that seem old-school inspired, but that don’t come off as dusty in any way.
James Krivchenia fuses acoustic drums and a rich array of percussion with electronic textures, all anchored by deep basslines courtesy of Sam Wilkes and Joshua Abrams—each track features at least one of them, except for the opener.
Done literally with everyday objects you could find in anyone’s garage, Kate Carr’s Rubber Band Music exploits the various pitches and timbres you can obtain from rubber to then manipulate them via electronic means.
The second coming of Vague Lanes (aka Mike Cadoo and Badger McInnes) comes as a moody, dark, and also insanely catchy collection of darkwave tunes. The group nails the one thing I always appreciate when listening to music: the foundations. If your grooves aren’t solid, there’s a good chance the music is going to fall flat.
Ditching the percussive side in favor of more timbres and textures, Whatever The Weather II depicts some wonderful spacious soundscapes.
The huge scope that Speaker Rotations depicts is well served by its compositions as well, as it sometimes starts to build to these big big walls of chaos; truth be told, loudness is never this album’s main goal, but it feels so huge that it almost tricks you into thinking you’re submerged by sound, slowly sinking in quicksand.
Anache plays a lot with each sound he introduces, and instead of striving for some insane out-of-this world timbres like you may sometimes hear in guitar-driven electroacoustics, he focuses more on building with the more subtle tones he’s creating. Layering and constant variation make this a worthwhile LP for fans of atonal electronic music.
All in all, this is an album that doesn’t fail to entertain those looking for interesting, leftfield electronica. The aesthetic of this LP very much matches its concept, and if you want to feel like you’re part of the labyrinth yourself, might as well try and do the one on the cover, only to realize after a little bit that it’s completely closed off and you’d feel as lost as you should.
