Experimental Electronic Music
One does not need context or production acumen to enjoy these tracks, and to feel emotionally attached to them—these pieces grab your attention beyond the extent of any techy or compositional trick, and linger once they’re done playing, like fizzy crisp air after a summer shower.
With DUB da Beat, a self-released four-track EP available through Bandcamp, Walker returns to a sound that feels both deeply rooted in his history and wonderfully untouched by time. Massive basslines rumble beneath a haze of dubwise echoes, warped acid squelches, and fractured rhythms, creating a woozy, late-night atmosphere that rewards sinking into rather than simply listening to.
Two originals, three remixes, five cuts of finely engineered funk. Interdimensional Warlock takes familiar electro ingredients, wires them to a dirty great bassline and sets the whole lot loose after dark. Get your stank face on.
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.
With Economy of Movement, Antipodean breakbeat pioneer Social Sport delivers five restless, shape-shifting cuts where fractured rhythms, heavyweight bass and psychedelic atmospheres turn the breakbeat tradition into something fiercely alive and forward-moving.
Serge Geyzel’s So I Leave delivers a hard-hitting mix of dark breaks, deep bass, glitch, acid, and experimental energy across three tightly focused tracks.
Distort Everything Forever opens in ambience, spends most of its middle throwing rhythmic and low frequency chaos at you, then returns toward atmosphere at the end.
A veteran of groundbreaking music-video and visual collaborations, Ben Stokes puts his most personal stamp on Dimensional Holophonic Sound (DHS), his singular project blending acid electronics, old-school analog imagery, and experimental video production. Simultaneously, Stokes has built a distinctive career at the intersection of sound, art, technology, and visuals.
Kid Bucle, either knowing or unknowingly, takes a lineage built from futurism, tek-funk, broken machinery and the pleasure of the unexpected, then subjects it to contemporary pressure until something new and now begins to emerge.
Taimela isn’t trying to recreate the 90s IDM and drum and bass golden era so much as he’s drawing a line from it to the present, letting those influences inform his melodic instincts without being consumed by them. There’s a lightness to how he carries all of that reference—it never feels like homework, never feels like pastiche. It just sounds like a producer who grew up on the right records and internalized them so completely that they became his own vocabulary.
This is electro with its lineage intact and its eyes firmly ahead: studied, physical, detailed and properly funky. The lesson is simple. Know the form. Then push the production until the form starts pushing back.
![[2View] Rusuden :: GANZFELD (Sender/Receiver) (SoHo Six / ElasticStage)](https://igloomag.com/wp/wp-content/uploads/2026/11/rusuden-ganzfeld-sender-receiver-feat-75x75.jpg)
