Experimental Electronic Music
The downtempo chug is still there, but it’s been processed through decades of IDM evolution, filtered through the same sensibility that informed Beans’ abstract hip-hop work and Schematic’s experimental roster. DL Poisons’ unsettling in the way that the best experimental electronic music should be, familiar enough to feel grounded, strange enough to keep you off balance.
Across four tracks, Invictus Hi-Fi leans into sampler grit, psychedelic color and rough-edged rhythm science, conjuring a sound that sits somewhere between warehouse afterglow and mature bedroom-studio experimentation.
Substak returns with Abrasive Deluge, a stark and immersive dive into eroded ambient textures and haunted sonic debris.
shizukesa’s destroy//destroy reframes lo-fi as a disciplined study in motion and restraint, where stuttering rhythms, minimal structures, and carefully rationed momentum turn negative space into the record’s primary expressive force.
Indeed over the course of this first for ASIP KILN fire shivering shapes and febrile forms into a timbral trade-off of hi v. lo-fi; a quiet riot of rhythm’n’sound ranging from “DrnkGrlfrnd” with its ‘aquarium-on-fire radiance’ to “Maplefunk Diptych”’s ‘garden groove of field-recorded percussion’ to the ‘sizzling whiteout’ of “Deacon Rayhand.”
Minimalistic guitar music that works as an easy going soundscape for a minimally distracting background that does not require your absolute attention, but it can also satisfy the need for details and perfect construction.
Swimming together in the tangential downpour of torrential media percussion and repercussion, all of this material can be considered as an excavation of a lost futurist consciousness.
The release of Trippin’ Variations via A Person Disguised as People is further evidence of Gray’s growing profile with a variety of tweakings to the original track from FC Commitments, Soft Operator, James Scott, SXXN, Stan K, Hidden Rivers, and Drummachinemike.
A Quiet Death is a robust and dark rumbling glitch assembly despite primarily using synthetic and staccato drum segments. The tracks are highly palatable and shift into a variety of structures and genres, pushing the album into rugged terrain, making it highly recommended.
On Bare Ground is a sculptural work blending its lo-fi with haunting melodies, field recordings, and ethereal soundscapes. Uncompromising in its approach, the album evokes the echoes of experimental music from a spectrum that ranges from dark bedroom pop to rhythmic noise, crafting a cloudy and dreamlike atmosphere.
For Macrogramma, the medium evidently brings with it, more than nostalgia’s facile allure, in contrast to digital’s infinite possibility, an intransigence forcing definitive choices.
