Experimental Electronic Music
Metanoia: Music From Therapy marks an important step in Circuit3’s development. Fitzpatrick’s electronic music retains its connection with a clearly defined tradition: analogue machines, sequences, emotional minimalism and synthetic soundscapes. Here, however, that tradition is used to confront something deeply personal.
With DUB da Beat, a self-released four-track EP available through Bandcamp, Walker returns to a sound that feels both deeply rooted in his history and wonderfully untouched by time. Massive basslines rumble beneath a haze of dubwise echoes, warped acid squelches, and fractured rhythms, creating a woozy, late-night atmosphere that rewards sinking into rather than simply listening to.
While continuing the legacy and wholly unique style introduced in Nekkuja and in 2022’s breakthrough Pripyat (both released on PAN), Dja Dja, her first self-released album, sees a much stronger architecture and development: almost double the length of its predecessors, the album is configured as an epic, and directly inspired by the monomyth of the hero’s journey.
These two releases make a particularly effective pairing. no wonder • なるほど explores musical memory, accumulated fragments, and the creative freedom that comes from working within constraints. ilulissat turns outward, drawing on the physical world and translating its impact into an abstract but emotionally direct sonic language. Both favor patience, intention, careful construction, and a willingness to let sounds develop beyond their initial identities.
Vigilant offers here a meticulously crafted and sentient electronic release where processed field recordings interact with dreamily flowing dronescapes. A magical and magnetic feeling rises to the surface, leading the listener to a state of emotional stillness.
Jordan Schmelzer’s debut as Dead Edit, Signal Loss, plunges deep into the industrial undercurrents of IDM, where fractured rhythms, mechanical weight, and ambient collage converge in a dense assemblage of broken beats and digital decay.
Titled Les allées tourbillonnaires, this new release is a shadowy and immersive exploration of sound motifs and sonic details extracted from environmental noises and green-field recordings.
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.
Guitar serves as a central thread throughout They Shall Bring Death Upon Us, reinforcing its industrial-rock foundation without overshadowing the electronics. Instead, it cuts through the mix as a defining presence, driven by distortion, rhythmic decay, and patterns that accumulate weight as they unfold.
This is music pushing impetus and intention to the extreme, gluing together gorilla-XX fury, experimentation and possibility at the very tip of collapsibility and ruin, remaining just faithful enough to sanity to preserve its musical heart.
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
