Experimental Electronic Music
Like Nazar himself in the lyrics, Demilitarize appears inaccessible at first, using its abstraction and deconstruction as a shield. But a strong light still shines through this shell and sinks in a bit at a time, first with circumspection, then with warmth, until opening itself to repeated listens and blooming in all its beauty and intention.
An elegant dialogue between nostalgia and nuance, where electronic music breathes with a steady, human pulse.
In a series that has already delivered so many innovative performances, Jobin’s contribution feels both essential and personal. Modulisme Session 123 is a fascinating addition to her already stellar discography and a testament—proof that in the right hands, modular synthesis can become pure poetry.
Gently corroded synth figures, filtered field recordings, and soft tape hiss assemble into scenes that feel lived-in rather than composed. These aren’t tracks in the traditional sense so much as zones—delicate, slow-form atmospheres tuned to the rhythms of stillness and peripheral awareness.
Twisted and askew, yet irresistibly magnetic, Oberman Knocks delves ever deeper into fractured electronic frequencies, drawing us into his richly textured realms of intricate, noise-laden trajectories.
As fragmented, scattered rhythms flutter through the landscape, the depth and intricacy of Bunker Symphonies II reveals a generative flow that never feels forced.
Beyond the Black Hole’s debut (Protonic Flux) is the result of years of live performances, with Renzo Gorrio and Richard Haig crafting a sound that ventures just beyond electro’s rugged edges.
Despite being a split release, Imagined / Awakenings strikes a careful balance between two talented audio sculptors, offering a propelling blend that entices listeners to return again and again, discovering new layers with each play.
In Archivo 2001-2009, FAX captures a defining era of his career while offering listeners a glimpse into the evolution of his artistic voice. The album is a playful fusion of experimentation and nostalgia, delivering a familiar yet refreshing experience—like slipping into a well-worn pair of shoes, its sounds remain timeless.
strands of lunar light takes as its material a series of 24 harmonics of a fundamental frequency of 5.15 Hz (a very low E, below normal human hearing range), using openly tuned guitar strings in various ways through the movements of the suite.
Aesthetically, although beatless, this new work TIME is an ambitious break from ambient music’s associations with the wellness industry, or any connection to environmental music, a sound that is Post-Ambient, leaving faded glimpses of stylistic references.
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