Experimental Electronic Music
A culmination of Boddy’s ever-evolving soundcraft, Modulations IV stands as a testament to his lifelong exploration of electronic music and the synths that stitch harmony from chaos. Not just a collection of performances—it’s world-building through sound.
Standing as a testament to Yunx’s quiet mastery—Coevolve is an album that doesn’t demand attention, but earns it through its patient unraveling, revealing a duo attuned to the poetry of electronic music and its timelessness.
“We really wanted to try something very different,” Harper said. “Something that respects the sanctity of these holy places, while allowing them to be filled with new sounds—sometimes in opposition to the words and songs once rendered there, but still meaningful.”
Clocking in at just fifteen minutes, this collection is brief but immersive—a noir-electronic excursion that channels the abstract ethos of Lytle’s earlier work, now buffed and refined for contemporary ears.
Music for Microdosing may be tailored for sub-perceptual psychedelic experiences, but its essence is universally accessible. This is a sonic tonic for our overstimulated times, a tool for calm, insight, and integration.
Simon Spiess (aka Late Bloøm) is a young and versatile sound artist based in Switzerland with roots in spacious, tape loops, and micro-tonal explorations.
A vibrant fusion of crisp, intricate, and sandblasted IDM transmissions, this collection signals a bold new chapter for both the artist and the label.
Each track unveils a microcosmic tableau: digital landscapes spun with precision, where synthetic sighs meet decaying signal echoes in an orchestrated embrace.
The Future is Plastic, as a whole, channels a throbbing, forceful strain of electro-nics certain to captivate followers of Central Processing Unit, brokntoys, Shipwrec, and Clone.
Electronic music still loves the industrial estate. At least in Spain it does.
