Experimental Electronic Music
As always with New Risen Throne, this album is massive, cathedralic, orchestral, sonically transportive, with hints of doom-laden epicness. Recommended for fans of deep ambient music with a cinematic, moody-esque, dystopian edge. Fans of Lustmord, Svartsinn, Phaenon, Dodmaskin, Psychonaut, Aeoga… won’t be disconcerted.
Otero Vargas has created an album that rewards attentive listening without demanding a prescribed interpretation. It is dark, textural, challenging, and surprisingly inviting. Beneath its fractured rhythms and unstable surfaces is an unusually thoughtful piece of electronic composition. Dissonance is a compelling listen from beginning to end and another strong statement from both Otero Vargas and Facade Electronics.
Untitled brings a form of fantasy music where society or environment is imagined in an advanced technological and scientific age exploring the universe, time, future tech, and humanity. The monstrous and crazy hypnotic repetitive sound is the art of the impossible, famously indistinguishable from magic, a way to test new ideas and take tomorrow.
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.
MEGAFAUNA creates a dark atmosphere using nature sounds and electro-acoustic manipulation to take the mind somewhere it didn’t expect to go. Listening to this at early morning hours, at normal volume, lying down, not fully awake, is a specific and disorienting experience. It’s quite amazing for what it is: a live improvisation built from birds that manages to sound like a horror score composed by the landscape itself.
This is what it sounds like when a producer has a large collection of morning keyboard improvisations, a practice the artist calls “Chaos Works,” recorded daily as a meditative exercise, and decides to present them honestly rather than sculpting them into something more conventionally structured.
Philippe Blache has constructed a detailed sonic environment where piano, electronics, repetition, and shifting textures create a sustained feeling of uncertainty, contemplation, and spectral loss.
DiN has built an extensive catalog through precisely these kinds of creative connections, and Juxtapositions stands as a particularly strong example of what can emerge when experienced artists remain genuinely open to one another. There is considerable craft here. Its sophistication lies in the natural way its many elements coexist and transform.
Primal Forms is quite a propulsive and beautifully elaborated electronic synthedelica effort that will ravish listeners of adventurous music with dancing, then hallucinogenic qualities. The synergy between the two musicians works like magic and with a clear easiness.
Concept Record not only works as a creative tool; it demonstrates what can be created when Professor Ben’s instruction is heeded. The concept is to use this record alongside other records to make new records, while providing a legitimate D.H.S. album of its own right—one that embraces the features that help make physical records so fun and appealing.
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.
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