Experimental Electronic Music
I can assure you there is no greater telling of a chapter of electronic history, set in a modern context, than this collection. A brand-new decade in retro colours, still vibrating with the naïve possibility that perhaps this time the future really would be different. Whether it was the intention to set out to communicate these themes, Acid Punx 3 did that to me. For me. Great job.
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.
Concept Record not only works as a creative tool; it demonstrates what can be created when Professor Ben’s instruction is heeded. The concept is to use this record alongside other records to make new records, while providing a legitimate D.H.S. album of its own right—one that embraces the features that help make physical records so fun and appealing.
Nazareno [bassi] delivers three inventive tracks on a limited 8″ lathe cut for No/Tempo. From glitchy bursts in “Discussion” to the warped vocals of “No Now” and the funky breakbeats of “I Love Tempo,” the release blends rhythmic chaos with electronic innovation, adding fresh energy to Adepta Editions’ Atanor Collection.
Johnny McDowell’s cable.percussion delivers a vivid array of sculpted breakbeats and weathered braindance textures on Bleach, a six-track collection where glitch flickers at the periphery and emotional resonance surfaces from the very first moments.
Cosmic Drama doesn’t look back; it projects forward—an evocative transmission from the next frontier of electronic sound.
A kaleidoscope of electronic elements radiates vintage disco energy, anchored by rich rhythmic architecture and elastic melodies.
A lean, potent assembly of forward-driving electro-nics, Contact Protocol stands as a formidable blueprint of timeless audio architecture—each track a microcosm of future-forward engineering and past-memory echoes.
Something deeper pulses beneath the surface here—Marshall Applewhite deciphers alien transmissions and machine-born structures through Out Through The Mouth, where technoid ruptures ripple around an atmospheric glitchscape.
On ADJ’s latest release for Strange But Dance Music, the line between heavy electro/breaks and experimental electronic music blurs to its most surreal form.
In a mere eight minutes, AZ-Rotator spins just enough momentum to leave us hanging, eager to see what strange new realms he’ll explore in 2025. A bold and sleek pairing that holds nothing back.
