Experimental Electronic Music
This overall limited run of the acid genre is another success on the label for those who are in love with the genre. Furthur Electronix—and a warm welcome Shakesphere, their sub-label—has been carving out a niche for itself over the past few years, releasing music that feels both nostalgic and necessary. It’s a love letter to a sound that defined an era, and for fans of classic acid and braindance, it’s essential.
Operating as Simon Pyke (aka Freeform) and various collaborative ventures, unveils Drift Works—twelve fractured post-ambient sketches unfolding in slow, seamless disintegration.
Within that tension between structure and collapse, Sven Piayda uncovers a strange sense of ease. Intercelestial thrives inside instability, shaping corroded electronics and broken rhythmic patterns into something fluid, tactile, and strangely alive.
Graham Dunning emerges with Quern (Jollies Records) from a period of academic research into sound and self-built instrumentation with a collection that feels both tactile and purposeful.
Set within the ongoing restoration of East London’s historic Tate Institute, Sunden’s one-take live performance transforms themes of collapse, renewal, and emotional reconstruction from Minor Coda into a visceral audiovisual experience.
DaFou’s new release on Buenos Aeros’ Cyclical Dreams arrives under the title Berlin Transit, and the Berlin nod is more than cosmetic—it signals a clear pull toward a Schulzian mode of expression. What unfolds across more than 100 minutes is a sustained act of musical articulation, rooted in a tightly wound compression of intention from the outset.
After 13 years of silence, Boards of Canada returned not simply with new music, but with a surreal, memory-soaked communion at Barnsdall Gallery Theatre where every fading ray of sunset, whispering pine, analog pulse, and hushed breath among 300 devoted listeners made Inferno feel less like an album preview and more like a long-lost transmission finally reaching home.
Gridlock’s Trace returns, and this is a classic industrial IDM release. As a reissue, there’s nothing here that’s reinventing the wheel in regards to production, it was released at a time where this type of sound was innovative and thriving.
re[Ø]load presents a focused study in kinetic fragmentation, balancing technical finesse with a visceral, bodily pull that makes its abstract architecture unexpectedly physical.
Lost Hope Society doesn’t deal in easy optimism. Instead, it locates hope as a kind of underlying signal—constant, even when masked by noise. Like Midsommar, it uses brightness to reveal shadow, and in doing so, turns discomfort into clarity.
Two of my favorite sonic sculptors converge as F~M, alias of Roel Funcken and Jeroen Bax (aka exm), shaping Fose into four extended chapters that warp and reassemble rhythmic glitch fragments, threaded with fluid collisions of bass pressure, flickering bleeps, and meticulous sound design.
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