Experimental Electronic Music
Ultimately, For LA Vol. 1 & For LA Vol. 2 are more than just impressive collections of ambient works. They are a heartfelt response to tragedy, amplifying the voices of artists who use sound to bring comfort and aid. This release is not just worth a listen—it’s worth supporting, as every note carries the weight of healing and hope for a city in need.
Solar blends characteristic brittle electronic textures with smooth, precisely crafted structures and tightly wound glitch elements.
There’s a meditative quality to Mind Fog, but not in a way that lulls you to sleep—more like guiding you through a lucid dream where each track is a different room in a strange, beautiful house.
What sets Wavecrushers apart from traditional ambient music is its immersive and dynamic nature—it’s too captivating to simply fade into the background.
Time Is Ignorance perfectly embodies the aesthetic and musical tone of the label, offering a collection of subtly organic and sentient pieces—blending processed acoustic patterns with lush textures, leaning partly towards melody while evoking a deep sense of serene melancholy.
Feedback loops emergent from tape recorder interactions served as a guiding principle, indeterminacy notwithstanding, fostering infusion of a certain fragile sensibility.
The Seven Planes of Dreams draws from a lot of different sources, such as the esoteric idea of five levels of consciousness, the scientific view of different phases of sleep, elements of our daily lives mingling with messages from our subconscious mind and with impressions received from books, or movies, from pictures and also other music.
Forgotten Worlds lives up to its name, blending the rich, hidden depths of synthesizers with the extraordinary realms they conjure. It beckons us to explore the enigmatic, untamed heartbeat of existence itself. With layers of complexity and an all-encompassing energy, these Forgotten Worlds are treasures meant to be rediscovered, time and time again.
The fluid, unhurried march of time—where each second blends seamlessly into the next, constantly shifting and evolving—creates the perfect backdrop for albums like Functional Gloss by Buffalo’s Matt Donatelli, under his Survey Channel project.
Less than a year after TON, a two-hour-and-a-half glitch mammoth that made it into Igloo’s Best of 2024 round-up, Özcan Saraç is back on Evel with Neural Generators of the Auditory Brainstem Response—and if TON already seemed daunting for its lengths and experimentation, Saraç’s seventh album ups the ante, clocking over 330 minutes divided into twenty-five movements.
All in all, this is an album that doesn’t fail to entertain those looking for interesting, leftfield electronica. The aesthetic of this LP very much matches its concept, and if you want to feel like you’re part of the labyrinth yourself, might as well try and do the one on the cover, only to realize after a little bit that it’s completely closed off and you’d feel as lost as you should.
