Experimental Electronic Music
This squamous assortment of pinged and panged filters drips with blips as the frequencies throb and slip. This little EP of five songs is perfect for a subwoofer session, i.e., when you need to do a bass test or just feel the explosion of low-end sounds in a swarm of voltaic murmuration.
Amidst all of this is a crepuscular sepulchritude of electronic abstract noise and instrumental passages where full attention can be given to the impeccable sound design. On the level of structural engineering, it’s another marvelous feat. There are so many subtle details in the electronic portion, while the acoustic elements often recall the languid melodies of ancient folksongs.
Lost Tribe Sound knocked it out of the park in 2026 with this interconnected series of releases. Diving into the extensive back catalog of the label is certainly an effort that will reward the curious and careful listener, while waiting for what they decide to bring out next will reward the patient.
Spencer Clark’s Typhonian Highlife project transforms dreams, occult lore, extraterrestrial encounters, and experimental electronics into otherworldly soundscapes that blur the boundaries between music, mythology, and the hidden dimensions of imagination.
Strange storytelling, field recordings dusted in gray, gentle melancholy strings, and tribal electronic rhythms, meet stuttering voices and spell casting as sing-songing in a realm of wondrous enchantment.
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.
Power up the hi-fi and get your favorite seventies era Sci-Fi laserdisc movie cued up on your vintage home entertainment system, turn the volume down on the film, and turn up the volume on OBA to let them provide the soundtrack.
Hana Stretton’s album tiarn is filled with the kind of hazy lo-fi arrangements that pull on the heart strings of sepia toned memories, fading Polaroid snapshots in sound of private moments and community life alike. It’s not crazy to learn that some old family camera footage is part of the inspiration behind these songs.
Mount Analogue is a landmark work from a master artist in tribute to the great chain of influence that goes from one seeker to another, from one artist to another. I consider it another essential clue in my own quest for discovering an applying obscure knowledge.
Luca Young crafts a hypnagogic birthing enclosure in the space created by this music, a space open for manifesting further gifts of reflective imagination.
Even as the music voyages across the celestial empyrean of space, he opens up new territory, diving downwards into the underworld where the mysteries of Orpheus (poet, musician, prophet) are encountered in their cavernous depths. Here the Orphic lyre is a synthesizer. Here it is a collection of psychotronic modules who route electricity to the point where it tingles with lucid scintillation. This is a third ear music awakening the inner senses to subtle vibrations.
