Experimental Electronic Music
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.
Across a captivating ICA performance and the propulsive, gloriously unruly It’s Nothing Personal, Loraine James turns fractured rhythms, unconventional voices and restless electronic experimentation into something deeply human, proving that music’s greatest power lies not in perfection, but in its capacity to make instability feel alive.
A disorienting, sometimes brutal experience that demanded we surrender to the music, accepting the limits of our own bodies and senses, resulting in a concert that fully lived up to Autechre’s glorious reputation. Article by: Christopher Mathieu and Georges White
In many respects, the 12”s from Acid For The Grandma sound more like compilations. Each EP has a sense of being distinct and unique rather than a progression from one to the next. The real surprise is that it is one artist behind these releases, one musician exploring acid, ambient, house and techno and doing so from incredibly varied perspectives.
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.
More techno from Bradley Strider, Death in Vegas, and Ryan James Ford with all three delivering their own expression of the sound with savage results. We have electro with Cultivated Electronics, To Pikap and Shipwrec, and breaks with DjRum and Withhold. Two hours of nonsensical anecdotes and lots of great music.
Kid Bucle, either knowing or unknowingly, takes a lineage built from futurism, tek-funk, broken machinery and the pleasure of the unexpected, then subjects it to contemporary pressure until something new and now begins to emerge.
Most ingredients are well known, but it’s the ingenuity with which they are married into one homogenous alloy that makes Anemoia not simply a standout IDM piece in terms of production proficiency and storytelling, but an important milestone in the history of modern electronic music in general and, for me, a present and future classic.
With the completion of this trilogy, we acknowledge our part as a remote viewer of Dean’s life over three decades. Salvaging The Future—perhaps more than the prior two albums—is a restless collage, yet it is so well mixed that it lends itself to uninterrupted full-album listening. This listener is tuning in about 2x per day at the moment. Despite the challenges these decades have wrought, the trilogy’s close with “Our Story Survives Collectively” leaves us with a sense of hope. This is music for visioning.
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.
EPROM’s Memory Rites distills his unmistakable approach to sound design into an accessible new plugin format, giving producers a direct entry point into one of electronic music’s most influential sonic worlds.
![[2View] Rusuden :: GANZFELD (Sender/Receiver) (SoHo Six / ElasticStage)](https://igloomag.com/wp/wp-content/uploads/2026/11/rusuden-ganzfeld-sender-receiver-feat-75x75.jpg)
