Experimental Electronic Music
Arquiola and Nahuel are members of Mamvt Electonics and the two brought two bags full of electronic gold. We had two hours recorded live with tracks from Aphex Twin, Berceuse Heroique, Hieroglyphic Being, Tin Man, Secret Studio Records, Wolfskuil and more.
I think this is very good sounding ambient atmospheric pop, employing bass with keys, guitar, a touch of percussion sometimes and always within a framework of wonderful spacey electronics with some etheric vocals too.
Rontronik (Ron Croudy) is not just a music producer and DJ/Controllerist; he’s a sonic architect weaving beats and melodies into immersive experiences. His journey into the realms of electronic music began over a decade ago, fueled by a passion for diverse sonic landscapes and a relentless drive for experimentation and innovation.
A revenant returns as a spirit after death, and art can be an experiment in new forms, one might not like it all. For me, “Burn I” and “Burn II” were tough, but then “Dome 2080” is Extraordinarily Awesome! Yes, very good.
A grueling feast of grit and glitch that celebrates 25 years of music-making—Skymall prepares an unforgiving mix consisting of blistering electro, breaks, rhythmic noise, and magnetized distortion.
Sun-soaked, abstract, and vintage-sounding electronics with fuzzy melodic rhythms.
The Flying Dagger displays a solid batch of tracks that go as hard as the concept behind the project would lead you to believe. To match various fight scenes and the thrill of revenge, the beats on this EP do need to go rather hard, and they certainly succeed at that.
Matmos are masters of the electronic concept album, and I was delighted that the archive in question is the plethora of “sound” albums released by the maverick founder of Folkways, Moses Asch. Beyond the concept, these glitchy, rhythmic, noisy, textural pieces are a joy to listen to and behold.
The aptly-titled compendium seeks solace in transparent melodic layers, continually engaging its listeners through expansive and cinematic sonic snapshots.
Masaya Ozaki explores various sound sources on Mizukara and then manipulates them into comforting or sometimes discomforting new textures. There’s various acoustic instruments that get played with, contributing to the album’s overall variety and different soundscapes.
Their previous album—FUTURISM (Section 27, 2022—was billed as “exploring the farthest reaches of sandblasted electronics,” and Like Phantoms is a smooth progression forward. Despite being “underground” since 2009, Section 27’s releases consistently push IDM and experimental electronic boundaries, inching closer and closer to the surface.
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