Experimental Electronic Music
Rusuden’s achievement lies in an exceptionally intelligent sonic vocabulary, where beauty emerges through melody, ambience, texture, tone and timbre. Fat bass thumps underpin shimmering synthesizer sonics, while accessible neo-funk grooves provide the connective tissue for twelve assured, mature compositions.
Overleaf deploys digital tools to push further, fragmenting, layering, remake-remodeling, stretching sounds beyond recognition.
We are entering a more vaporous, velvety, sonic and sonorous adventure, with plenty of serene pads, crystalline tones, and subtly intertwined melodies obtained from processed acoustic timbres or electronic oscillations.
News of a single and album from Kenneth James Gibson: November 2 sees “In Whom My Eyes Are Gifted,” a first taste of LP Liturgies of Erosion and Return, upcoming January 20 on Past Inside The Present.
The original remains the gravitational center, its melancholic beauty providing the connective tissue between these contrasting approaches. Four perspectives, one expansive vision, and enough rhythmic invention to keep the whole thing moving. All quite delicious.
This new collaborative release announces a nicely made musical syncretism between various aesthetics and stylistic approaches. Experimental attempts exist, but these are subtly intertwined with the most structured song parts of the music, to make the whole thing more immediate and captivating.
Twenty-five years after its release, Markus Guentner revisits IN MOLL, reflecting on youthful intuition, creative freedom, the limitations that shaped his sound, and the enduring importance of making music without expectations.
At The Discotheque is a continent-ignoring, lineage-embracing psychedelic infusion, where technology meets traditional musical intent through a chemical haze, real or imagined.
Amidst all of this is a crepuscular sepulchritude of electronic abstract noise and instrumental passages where full attention can be given to the impeccable sound design. On the level of structural engineering, it’s another marvelous feat. There are so many subtle details in the electronic portion, while the acoustic elements often recall the languid melodies of ancient folksongs.
Across the fourteen tracks, CRACKS rejects reducing human suffering to mere political rhetoric or grandiose powerplay spectacles. Instead, the musical and tonal dissonance and innate musical human tenderness become a language of resistance, demonstrating how experimental music such as here can bear witness to the ills of vulnerable people’s once seen as commodities.
Lost Tribe Sound knocked it out of the park in 2026 with this interconnected series of releases. Diving into the extensive back catalog of the label is certainly an effort that will reward the curious and careful listener, while waiting for what they decide to bring out next will reward the patient.
![[2View] Rusuden :: GANZFELD (Sender/Receiver) (SoHo Six / ElasticStage)](https://igloomag.com/wp/wp-content/uploads/2026/11/rusuden-ganzfeld-sender-receiver-feat-75x75.jpg)
