Experimental Electronic Music
Extinct sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt.
Eric Schlappi’s Raw Øblations 4: Contaminated, which lasts just over 26 minutes, provides even more glitch-electronic warfare.
Wonch like Woo has speaker cones trembling from the needle drop. Employing elements of D&B, electro and even industrial, QphoniQ dowses his productions in low sub to produce a ruffled and textured effect.
Lectromagnetique (Chornobyl, Ukraine producer) reveals blistered electronics in the form of hardened techno and electro in two tracks spread over twelve-minutes.
Combining field recordings, distorted electrical pulses, punctuated non-linear rhythms, and found sounds to create an oddly surreal mixture.
Constructed as a vessel that allows curiously enticing post-ambient/noise and crumpled industrial landscapes to expand and contract, Precenphix tugs at the listeners heartstrings with this otherworldly album.
Combining punk, metal, electronics, noise, and hard-edged industrial shenanigans with a core made of (molten) rock and mechanical sounds.
A strong album producing brute forces with the least amount of fuel—at least to our ears. Kisser has incorporated non-linear aspects of braindance, IDM, ambient, and noise into abstract structures on Fields of Domodedovskaya.
Sprawling and entrancing walls of sounds, lapping waves of noises, sinuous e-guitar motifs, ruminating drones, processed cathedral-ish chorus, engulfed church organ patterns…
Drawing on some of the basic elements of dub—echo, reverb, bass—Leather Parisi shows a deft understanding of sound craft as well as a strong hand at the mixer.
The album’s almost cyber-punk and relentlessly austere energy also veers into musical territory inhabited by Ghostly International-signed acts.
