Experimental Electronic Music
These musical works are a good antidote to the all too prevalent use of insecticide in our world. Even science fiction books, where the thinking one could hope, would be expansive and kindly towards other forms of life, has alien enemies represented as “buggers” like in Ender’s Game or all the invasion of bugs happening across the galaxy in Starship Troopers.
DISPLACES is an album that I’ll find myself drawn back to, or haunted by over and over, providing sometimes an intimate, intuitive understanding of something bigger than me, and others giving energy from some obscure source, or else… The thrill of not knowing exactly what will only keep expanding.
Across two live, fifty-minute transmissions, Spednar and eczem push their machines to the brink, sculpting raw voltage and fractured rhythm into immersive, ever-mutating electronic architecture.
Steve Horn returns with Troglodyte Tracks, a taut, hard-hitting set of electro-funk cuts that dig into the roots of machine music while driving it forward with grit and purpose.
Years on from his tape-wrangling beginnings, with two Japan tours and a cult following behind him, Joseph Bastardo’s mid-2025 release Polyshades should have marked a defining moment for both the artist and the outer edges of electronic music—even if its quiet arrival now makes this praise overdue.
With RhaD, Raffaele Pezzella fractures memory and signal into a dense, hallucinatory archive where lost transmissions feel disturbingly alive.
Across eight meticulously engineered cuts, John Nap’s C.C.T. fuses subterranean bass weight, corroded glitch textures, and restless breakbeat architecture into a sleek, nocturnal system of controlled sonic volatility.
On Relative Minor, Near The Parenthesis crafts a hushed, neo-classical ambient journey where delicate piano and drifting synths unfold with intimate, suspended beauty.
After first encountering Philippe Petit through The Haunting Triptych (2010), The Acoustic Cornet—released by Mahorka as a tribute to Leonora Carrington—emerges as a radical electro-acoustic work of abstract, collage-driven experimentation that fuses manipulated objects, elastic electronics, and avant-garde improvisation into a richly unpredictable sonic experience.
Akhira Sano transforms a soon-to-be-demolished family home into a fragile, room-by-room sound diary, shaping its creaks, air, and fading resonance into an intimate work of environmental memory.
Carl Finlow delivers a lean, six-track statement of disciplined, groove-driven electro that strips the form to its essential mechanics while sustaining tightly coiled, floor-focused intensity.
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