Experimental Electronic Music
In many respects, the 12”s from Acid For The Grandma sound more like compilations. Each EP has a sense of being distinct and unique rather than a progression from one to the next. The real surprise is that it is one artist behind these releases, one musician exploring acid, ambient, house and techno and doing so from incredibly varied perspectives.
Bound To Substance explores the negative psychological effects of self-isolation, mental deprivation, and existential loneliness, as well as feelings of estrangement and parapsychic projections.
Capturing his intuitive approach to electronica—minimalist, warm, playful (Ljud-ic?!) and obliquely house-informed, like its precursor, Ljud is a timeless work driven by repetition and microvariation, happy accident and spontaneity, the casuality and vibrancy of its spirit tangible throughout.
I can assure you there is no greater telling of a chapter of electronic history, set in a modern context, than this collection. A brand-new decade in retro colours, still vibrating with the naïve possibility that perhaps this time the future really would be different. Whether it was the intention to set out to communicate these themes, Acid Punx 3 did that to me. For me. Great job.
There’s an understated optimism running through Less Invasive, placing Cognition Delay comfortably alongside the more atmospheric work of artists such as Secede, Arovane, Biosphere, and Rod Modell. Yet rather than imitate those sounds, Alexander and Rice create something more patient: music that works best when allowed to sit quietly in the room, gradually revealing its details while everything else falls away.
Morning Glories is strongest when it allows this material to breathe without forcing it towards the sublime. bvdub knows his own vocabulary extremely well and at times exposes it to its limits. The more accessible melodic openings give the album a different kind of light, occasionally close to a pop sensibility, always absorbed within durations and structures that belong to another logic.
Together, the two tracks form a small refuge built from sound: sparse voices, lingering tones, and an unhurried sense of calm. Fortresses finds its strength in restraint, creating music that asks little of the listener beyond simply staying awhile, drifting, and letting go.
Interbeings unfolds as a living trace of coexistence: a permeable sonic ecosystem where listening becomes an experience of connection, crossing perceptual, physical and inner layers. These intertwine with interactions with the artworks through contact microphones, and with the flugelhorn as a center of presence and listening.
Black Shapes’ ZEROFOUR delivers four uncompromising transmissions of Millsian techno, smoked-out acid and analogue futurism, where relentless pressure, machine-driven psychedelia and late-night propulsion do all the talking.
A full-circle encounter with Steb Sly’s The Galaxy Projector, a gloriously funky, retro-futurist transmission that bridges house, breaks and cosmic soul while reminding us that the deepest purpose of music is not simply to move bodies, but to bring us together.
Rather than resolving its strange machinery, Noxi Melank leaves it in motion—a collection of damaged systems, unstable rhythms, and modular forms continually finding new ways to become something else.
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![[2View] Nekomachi/no wonder • なるほど & tsubai/ilulissat (Perceptual Tapes)](https://igloomag.com/wp/wp-content/uploads/2026/10/nekomachi-no-wonder-tsubai-ilulissat-tapes_feat-75x75.jpg)
