Experimental Electronic Music
I can assure you there is no greater telling of a chapter of electronic history, set in a modern context, than this collection. A brand-new decade in retro colours, still vibrating with the naïve possibility that perhaps this time the future really would be different. Whether it was the intention to set out to communicate these themes, Acid Punx 3 did that to me. For me. Great job.
There’s an understated optimism running through Less Invasive, placing Cognition Delay comfortably alongside the more atmospheric work of artists such as Secede, Arovane, Biosphere, and Rod Modell. Yet rather than imitate those sounds, Alexander and Rice create something more patient: music that works best when allowed to sit quietly in the room, gradually revealing its details while everything else falls away.
Morning Glories is strongest when it allows this material to breathe without forcing it towards the sublime. bvdub knows his own vocabulary extremely well and at times exposes it to its limits. The more accessible melodic openings give the album a different kind of light, occasionally close to a pop sensibility, always absorbed within durations and structures that belong to another logic.
Rather than resolving its strange machinery, Noxi Melank leaves it in motion—a collection of damaged systems, unstable rhythms, and modular forms continually finding new ways to become something else.
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.
Two decades removed from the clockwork IDM of Polytuft-Tech, Tim Martin’s returning light (Home Normal) and beneath still stars (handstitched*) find him stripping everything back to drift, texture, and quietly resonant melody, resulting in two companion albums that feel less like separate releases than different sides of the same long, unhurried thought.
God Is Everything You Are Not is built from voice, MicroKORG synthesis, a microphonic soundbox from LeafAudio, and field recordings. Seven pieces, just under 36 minutes. The release notes describe grief approached as passage rather than narrative, and that framing holds, this record puts you inside the duration of something rather than telling you it happened.
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.
wave_function ultimately displays an artist working in top form, mapping out a series of experimental electronic terrains that converge into something uniformly disjointed, immersive, and quietly mind-bending.
The Consumers Research and Development Label is clearly not trying to be one thing, and that’s the most encouraging part of this reintroduction. A techno veteran finally putting out his own record after twenty years of platforming everyone else, sitting right next to a hip-hop travelogue built out of literal years of instability and constant movement, that’s a genuinely odd pairing on paper, and it works precisely because neither release is compromising to fit next to the other. They just happen to share a home.
Analogical Force has long occupied the productive tension between experimentation and the dancefloor’s accumulated memory. Hidden Soul sits firmly within that tension, fluent in its established language and meticulously composed. But perhaps the most exciting possibility lies just beyond that fluency: not abandoning the listener, but trusting them enough to take the familiar somewhere unfamiliar.
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