Experimental Electronic Music
By the late 1980s, Depeche Mode had found global success—but the U.S. remained elusive. Despite support from stations like WLIR and KROQ, mainstream America hadn’t caught on. That changed with 1990’s Violator. Riding the momentum of Music for the Masses and Depeche Mode 101, the band hit a creative high, delivering the album that would launch them into true worldwide fame.
After years exploring ambient stillness and shadowy textures, Deru—aka Benjamin Wynn—returns with rhythm tapes, a raw, genre-blurring mixtape of ten glitchy, percussive tracks. Fusing early IDM spirit with modern grit, it’s a rhythmic reinvention where chaos and control collide. A new chapter, sharper and louder.
On a curious doubling of terms, Seth Thorn weaves a serene tapestry of ambient electronics and modular textures. Combining bowed strings, granular synthesis, and hushed rhythms, he crafts nine intimate pieces where silence, shimmer, and circuitry intertwine in delicate motion and mood.
Braulio Lam’s latest on Facade Electronics dives into the quiet intensity of analog sound, where ambient textures, glitch rhythms, and minimalist tones unfold with meditative precision. Across ten tracks, he crafts a stark yet emotive landscape—marked by dub echoes, digital decay, and restrained beauty—inviting reflection through the subtle interplay of noise, silence, and structure.
Eoism – Live is a 60-minute surge of raw electro, recorded in Jena (April 2024). Blending acid, breaks, and techno on Korg Electribes, the duo delivers bass-heavy grooves, glitchy textures, and futuristic intensity—a sharp, mechanical journey through abstract electro and rhythmic experimentation.
Stanza IV is the latest chapter in Benoît Pioulard’s ambient series—a richly textured collection of slow-moving, analog-driven compositions blending guitar, tape loops, field recordings, and synths. Deeply meditative and emotionally resonant, the album is paired with Stanza IV [Versions], a full-length rework collection featuring artists like Clarice Jensen, Arovane, and Markus Guentner, offering new dimensions to Pioulard’s immersive sound world.
Divergent Sequences is a textured journey through analog synths and abstract rhythms by IDM pioneer Solar X (Roman Belavkin). Blending vintage warmth with modern precision, the album moves from breakbeat energy to ambient introspection, showcasing Belavkin’s deep craft and emotional range. A rich homage to electronic music’s past, reimagined for now.
Nazareno [bassi] delivers three inventive tracks on a limited 8″ lathe cut for No/Tempo. From glitchy bursts in “Discussion” to the warped vocals of “No Now” and the funky breakbeats of “I Love Tempo,” the release blends rhythmic chaos with electronic innovation, adding fresh energy to Adepta Editions’ Atanor Collection.
Kurt Gluck, aka Submerged, unleashes a raw, unflinching statement in Reparations Collected In Flesh—a cathartic journey through personal struggle and resilience. With relentless industrial noise, distorted rhythms, and fractured beats, he crafts a brutal yet focused soundscape. Each glitch and crash tells a story, turning chaos into a powerful form of expression.
Chiron, the latest from Enzo Caselnova, is a seven-track plunge into raw, industrial electronics. Loosely inspired by its mythological namesake, the album blends dub ambient, breakcore, and illbient into a brutal yet purposeful sonic journey—distorted, percussive, and open to interpretation.
Squarepusher’s Stereotype, originally a 1994 underground release, captures the raw beginnings of Thomas Jenkinson’s genre-defying sound—where fretless bass meets electronic chaos. Now reissued by Warp, it remains jagged, urgent, and emotionally charged, a vital document of ‘90s UK rave culture and a bold statement of artistic freedom.
