Experimental Electronic Music
Natural recordings, soft rhythms, distortion, metallic noises, melody, and digital artifacts continually lean against one another without settling. By the end it feels less like eight compositions and more like half an hour spent inside a system that was continuously adjusting itself while you were listening, and never quite finished.
What began as an ordinary box of records arriving at work quickly turns into a strange trip down the rabbit hole of Synaptic Cliffs—a label where extraterrestrials, electronic music legends, immaculate vinyl and one very elusive artist called pdqb somehow all make perfect sense.
Los Angeles-based ambient explorer stanleycypress finds comfort in smaller spaces with Ephemeral, a two-track slice of life where atmospheric modulations weave through melodic drone tones and cascading Detroit-inflected textures.
Bracaloni’s latest traverse moves through warm, spacious soundscapes built for getting lost within, where atmosphere lingers long after each piece fades.
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.
Multiple active listens never feel like a chore, and are instantly rewarded by the lavishness of the sounds and the cleverness of the compositions, bringing together awe, humor, and bewilderment. And what else can we ask of experimental music?
Everything about the sound design and palette of Window To Askoy seems suspended in the heat of summer rains and tropical smog. Yet it’s the soulful element that’s paramount: an exquisite melancholy and blessed-out bliss shape the ventricles and vessels of these lean cuts.
The Bug’s Ladybug 2 pairs his heavy, hypnotic bass pressure with Friday Night Plans’ hushed vocals, turning six versions of “Miss U” into a dark, immersive journey where dub, shoegaze, and electronic melancholy slowly dissolve into one hypnotic flow.
Kim Cascone’s book Post-Digital Music gives sound artists the conceptual thought tools that help open up connective valves between the unconscious and conscious minds, stimulating the growth of imagination. This collection of essays is also essential reading for the continued critical discourse around issues of electronic music production and reception.
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.
From its roots as a music blog to a fiercely independent label built around physical releases, Somewherecold Records has grown from Jason Lamoreaux’s love of experimental music into a deeply personal effort to give artists and their work something lasting to hold onto.
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