Experimental Electronic Music
We don’t have enough Dada in this world of too much data. Something is needed to break-through the over-curated simulacrum that is the online world in order to let in a bit of non-artificial light. One way to make a break is through the deliberate cultivation of the glitch.
Atrementia was composed exclusively with circuit bent hardware, home-made oscillators, pedals and electric guitar fed through analog processing. Your memories are dressed in black. I can see them, you cannot hide from my lost eyes. What I hear are warm, analog noise and looped pedal drone balance light and dark, for day dreamers and long nights of reflection.
Francis Gri is the kind of sound artist whose work deserves to be discovered by a wider audience of ambient enthusiasts, seekers of tranquility, and those drawn to introspective, quiet moments at home. Much like an old friend, Bruma’s music offers comfort and solace, gently accompanying you through times of grief and personal reflection.
PYR is an eclectic mosaic of creative soundscapes and IDM nuances, captured with skillful precision, revealing a world of sonic textures that exist on an entirely surreal spectrum.
Though ir_’s intoxicating sonic architecture is impossible to resist, the Alabama-based producer expertly weaves a tapestry of nostalgic textures, leaving us craving for just a little more.
Solar blends characteristic brittle electronic textures with smooth, precisely crafted structures and tightly wound glitch elements.
Masters Of Meanders threads together the past with forward-thinking precision that’s as timeless as it is innovative.
Less than a year after TON, a two-hour-and-a-half glitch mammoth that made it into Igloo’s Best of 2024 round-up, Özcan Saraç is back on Evel with Neural Generators of the Auditory Brainstem Response—and if TON already seemed daunting for its lengths and experimentation, Saraç’s seventh album ups the ante, clocking over 330 minutes divided into twenty-five movements.
All in all, this is an album that doesn’t fail to entertain those looking for interesting, leftfield electronica. The aesthetic of this LP very much matches its concept, and if you want to feel like you’re part of the labyrinth yourself, might as well try and do the one on the cover, only to realize after a little bit that it’s completely closed off and you’d feel as lost as you should.
At times, the sound feels almost mechanical—like a dishwasher trying to interpret a broken InSinkErator’s message—as grinding microscopic clicks and bleeps collide within their own labyrinth before retreating into four states of shattered stillness.
