Experimental Electronic Music
The Dexadream seems to soar hundreds of miles above our atmosphere, while DFTSKZ-V333 drifts in and out of downtempo electronic bubbles of sound and space, funk, and textural, beat-laden wonders. Across both releases, Xurba folds left-field elements into a language entirely his own, shaping sound into something hazy, distant, and quietly otherworldly.
In a world increasingly obsessed with acceleration, Ekzon offers something altogether more radical—the opportunity to pause, listen, and feel the architecture of the moment dissolve gently into light.
Expanding rather than merging the recognized individual styles of each, Fictions results in a chronostatic set of pieces with error honored as a hidden intention (see Eno’s Oblique Strategies) via analog processes, while holding to melodic virtues and economy of means.
Melodic gestures emerge from drone surrounds—ground to figure, dissolving into field—drawing you in from perception’s margins, receding just as they seem to have settled.
Steve Hauschildt returns after six years with a new album on Simul, still experimenting with the vast territories of audio research and panoramic, sentient ambient music on Aeropsia.
As always with New Risen Throne, this album is massive, cathedralic, orchestral, sonically transportive, with hints of doom-laden epicness. Recommended for fans of deep ambient music with a cinematic, moody-esque, dystopian edge. Fans of Lustmord, Svartsinn, Phaenon, Dodmaskin, Psychonaut, Aeoga… won’t be disconcerted.
Poladroïd packs eight lean, muscular tracks with throbbing bass, fat drum-machine punch and just enough EBM grit to keep the whole thing moving.
Otero Vargas has created an album that rewards attentive listening without demanding a prescribed interpretation. It is dark, textural, challenging, and surprisingly inviting. Beneath its fractured rhythms and unstable surfaces is an unusually thoughtful piece of electronic composition. Dissonance is a compelling listen from beginning to end and another strong statement from both Otero Vargas and Facade Electronics.
Perhaps this new ROTCORE strata marks Batista’s next transmission. Here, rot does not simply signify decay; it becomes a productive process, a way for sounds to break down, recombine, and regrow. In that sense, IDM(R)ot I treats glitch not as damage to be corrected, but as evidence of life inside the machine—an opening through which IDM can mutate, regenerate, and find another generation of forms to cultivate and explore.
Visible Light did not try to produce an exact sonic replica of El Yunque, but rather focused on the aspects that impacted the musicians the most, just as a landscape painter can highlight aspects of a landscape that a straightforward photo cannot communicate as well.
Across its ten tracks, vocals function as much as part of the instrumentation as they do a traditional lead, with Hammerbell and John Winston Phillips giving each song its own shifting character.
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