Experimental Electronic Music
Tschernobyl serves as an immersive depiction of such a wasteland and as a medium to cement the band’s feelings regarding the catastrophe. Both the music and the various vocal samples scattered throughout feel incredibly apt for painting images in the listener’s head; a sense of melancholy is sometimes present, while at other times the tracks become rougher and much more industrially influenced.
Beyond the Clones then does a fantastic job of morphing proto-EBM rhythms, contemporary glitch textures, and those delightful toybox electronics into this next release. And in so doing, moving between space-like abstraction and grounded abrasions with a physical intensity throughout.
Across eleven diverse movements, SICK STREET displays rhythmic elasticity, aural sculpting assembled from found sound, cellular technology, environmental residue, postcode mosaics, and a restless multiplicity of influence.
Across its duration, A Wave Of Alarm navigates the long architecture of inner turbulence, invoking something akin to a dark night of the soul: a descent into fertile voids where collapse and liberation begin to mirror one another.
For listeners expecting linear progression or clear melodic arc, Tracker Mini Works will feel incomplete. For those who understand that fragmentation and glitchy manipulation can be more emotionally resonant than perfect production, this will feel exactly right.
Ouroboros emerges as a fully realized assembly of extraterrestrial circuitry, endlessly bent, folded, and reconfigured into excitingly unique forms.
Across The Dreamers Of Dreams, Bowman detonates maniacal braindance mechanics, electro errorfunk ripped into synthetic ribbons, and a cut-and-paste sampladelia that early Coldcut would likely have fought over releasing.
tsx and Sue Tompkins have carved out a niche so specific that almost no one else occupies it. recur⁷ is further proof they’re fine keeping it that way.
Air Signs rests at its distinct sound. Everything is pieced together very well, and all the noises, melodies, and synths are family—they all align track after track. Deschamps has a gift for cohesion. Even when he’s working with degraded loops, reversed recordings, and heavily processed guitar, nothing feels fragmented. Everything belongs.
Analogical Force remains a powerhouse label capable of balancing both forward-facing experimentation and deep respect for established electro and breaks traditions. Both approaches carry immense value, and perhaps the real excitement comes from hearing artists navigate the space between the two.
I trust BoC to make something interesting and emotionally effective, but when it comes to their music’s meaning, they’re slippery and mysterious. Inferno is a collection of pieces that grapple with scary feelings, scary beliefs, and the inescapable feeling that you can only trust your senses so far.
