Experimental Electronic Music
Everyday Dust returns with Shrouded III, a fever dream of decayed synths, eerie textures, and hallucinatory soundscapes that blur the line between madness and revelation. Paired with the wild remix project Mossed in Translation, these releases plunge deeper into the project’s haunted world—unsettling, immersive, and impossible to ignore.
Undertones doesn’t merely explore disorder; it thrives in it—spinning volatile frequencies into an oddly meditative turbulence, where musique concrète meets instinctive structure, and where noise becomes a living, breathing force.
Sedonis is a searing new release from noise icon Merzbow and Chicago’s Signal In Noise label, blending his signature chaos—overdriven electronics, handmade instruments, and relentless textures—with the label’s sharp visual identity. At nearly 70, Merzbow remains uncompromising, delivering an immersive, punishing sonic experience that continues to push the boundaries of sound.
Glass Colored Lilly by Yuki Fujiwara is a unique blend of traditional Japanese flute, jazz improvisation, and Pan-African rhythms. Produced by Bill Laswell, the album creates immersive, cross-cultural soundscapes that invite deep listening and reflection.
By operating outside of the playlist protocol, Big Blood have once again given us something that goes beyond the test of temporary style. This is music for deep listening in the deep time of Deep Maine, and it shall abide.
Fans of free improvisation, intuitive music, and the European tradition of avant art music will find much to enjoy on this endlessly twisting abstract headscratcher. It is like a puzzle that can only be solved when I stop trying.
Reverie is a tour of unadorned castles in the air, playful and strange vocals, music inspiring pleasant dream-like thoughts, expressed with wordless musical vocalisms, fluid speech-like syllables that might lack any readily comprehensible meaning, an extravagant conceit of the imagination, a lost sense of dreaming while awake. There is an extraordinary array of great talent here.
At its core, Closing Our Eyes is an acoustic transformation through electronics—organic sound is deconstructed, reshaped, and reanimated into something beautifully unclassifiable.
Anache plays a lot with each sound he introduces, and instead of striving for some insane out-of-this world timbres like you may sometimes hear in guitar-driven electroacoustics, he focuses more on building with the more subtle tones he’s creating. Layering and constant variation make this a worthwhile LP for fans of atonal electronic music.
The music of John Cage & Earle Brown captures the essence of Cage’s and Brown’s avant-garde philosophies, making it essential for enthusiasts of experimental classical music, and for those that want to tip their toe into exploring the beginnings of electronic music.
