Experimental Electronic Music
This is what it sounds like when a producer has a large collection of morning keyboard improvisations, a practice the artist calls “Chaos Works,” recorded daily as a meditative exercise, and decides to present them honestly rather than sculpting them into something more conventionally structured.
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.
DiN has built an extensive catalog through precisely these kinds of creative connections, and Juxtapositions stands as a particularly strong example of what can emerge when experienced artists remain genuinely open to one another. There is considerable craft here. Its sophistication lies in the natural way its many elements coexist and transform.
The depth and breadth of Documents of Different Reality is truly amazing. Cold Blow have done their homework and their research. This is a compilation of archaeological detail that brings to life the momentous machine music of the 1990s. In Spara’s own words, the collection connects “dots that people might have not connected before.”
Primal Forms is quite a propulsive and beautifully elaborated electronic synthedelica effort that will ravish listeners of adventurous music with dancing, then hallucinogenic qualities. The synergy between the two musicians works like magic and with a clear easiness.
For fans of CPU, Carl Finlow and electro’s wider continuum, IXRQ’s command of the language will be immediately apparent. But this isn’t simply reverence for what has been. These are familiar components arranged with enough curiosity to remind us that electro’s future has never been about inventing the machine. It’s about continuing to find new things for it to say.
Concept Record not only works as a creative tool; it demonstrates what can be created when Professor Ben’s instruction is heeded. The concept is to use this record alongside other records to make new records, while providing a legitimate D.H.S. album of its own right—one that embraces the features that help make physical records so fun and appealing.
There’s something particularly satisfying about hearing forgotten tracks recovered, revisited and finally released for others to discover. Off-Cuts (2014–2021) doesn’t feel like a scattered collection of archival material; instead, it comes across as a carefully gathered snapshot of a creative period, proving that these pieces still have plenty to say.
Most ingredients are well known, but it’s the ingenuity with which they are married into one homogenous alloy that makes Anemoia not simply a standout IDM piece in terms of production proficiency and storytelling, but an important milestone in the history of modern electronic music in general and, for me, a present and future classic.
A label that kept going, kept releasing, kept refining a shared aesthetic without compromise or concession to trends. aux4444 pt.1 carries all of that history in its drum patterns and melodic builds, and it sounds better for it. This is what underground electronic music looks like when it’s done with genuine conviction over a sustained period of time.
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