Experimental Electronic Music
Ludovico Franco’s Open Field (Rohs! Record) is a seven-part ambient work blending field recordings, improvisation, and electronics. Inspired by James Tenney, it was recorded outdoors with musicians and audience sharing the space. The result is a series of immersive soundscapes that feel more like living environments than compositions.
What makes Second so effective is the trio’s experience. Vitiello, Canty, and Rowe each bring something refined and practiced to the table. The record is skillfully composed and beautifully produced, making it no surprise that it’s also deeply satisfying.
Key actor and indie label in the vast panorama of modern day electronica and sound art, Mahorka started its creative adventure back in 2000-2001 with strongly aligned ideas to participate actively in advanced experimental music worldwide and from various cultural horizons.
In experimental sound, collaboration often stems not from strategy but from shared sensibility. Such is the case with Stone and Worship, the compelling new duo release from Phil Maguire and Primož Bončina. Coming from gestural heavy guitar and electronic bass drone music respectively, the two bonded over a deep reverence for minimalism, physical space, and the ineffable power of sound. Their partnership is built as much on intuitive listening as on careful deliberation—a quiet resonance that became a mutual language, shaping Stone and Worship into a work of subtle force, where each frequency, pause, and vibration speaks volumes.
Once Was Ours Forever is an album that asks for nothing but offers so much. It’s a buen retiro built from the light of things once held. Nash doesn’t aim for effect, he moves toward the truth of small gestures.
Titled hORs soLs, this new album by Philippe Neau is dedicated to green field recordings which work like a lively, organic ballet of natural sounds occasionally morphed, treated and manipulated with additional electronic sound sources.
Here, looped beats, sharp-panned synth lines, sparkling sampled piano, and glitchy “post-rock” electronica remind me of the early n5MD releases from the likes of Lights Out Asia, Epic45, and Near The Parenthesis.
An album conceived as if it were played by a bodiless orchestra, where resonances, feedback, Tibetan bells, synths, and trumpet come together in an electro-acoustic tone guided only by the intent with which it was created.
Done literally with everyday objects you could find in anyone’s garage, Kate Carr’s Rubber Band Music exploits the various pitches and timbres you can obtain from rubber to then manipulate them via electronic means.
These soundscapes exist within a delicate balance of fragility, inchoate shape and form yet held together with a structure and purpose set forth by the composer himself. It bears repeated listenings which will bear different fruit each time, and comes highly recommended.
El Pato Electronico presents a seamless, commanding, and dynamic collection; fusing the cutting-edge spirit of Takeshi Muto’s vast sonic landscape into an unyielding force of auditory abstraction.
