Experimental Electronic Music
Stanza IV is the latest chapter in Benoît Pioulard’s ambient series—a richly textured collection of slow-moving, analog-driven compositions blending guitar, tape loops, field recordings, and synths. Deeply meditative and emotionally resonant, the album is paired with Stanza IV [Versions], a full-length rework collection featuring artists like Clarice Jensen, Arovane, and Markus Guentner, offering new dimensions to Pioulard’s immersive sound world.
Abul Mogard charts a deeply personal and evolving sonic journey with the launch of his label Soft Echoes and new album Quiet Pieces. In this interview, he reflects on his creative process, from analog roots to a sound that seeks transcendence through texture and time.
Throughout El So de los Muertos, this sense of awe at the geological scale of something larger and more ancient is present both in sound and aesthetics, as shown by the album name itself (“The Sun of the Dead”) as well as track titles with translations like “The Earth and its subterranean powers.”
With each foray into the studio together, Jestram and Lippok seem to unite in that space where the third mind exists. Adding to these explorations […]
Fragile Peaks is a deeply engaging (in the sense of the quality of engagement being ‘deep’) slow burner, though that descriptor might misrepresent the intensity of a piece that, fire-wise, is more of a smoulder—a low-lit one at that.
Driftmachine collaborates with Andreas Ammer on Sonic Behaviour, a celebration of sound and noise that juxtaposes poetry with dubby, hypnotic soundscapes and siren wails.
Salt takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen’s work and creativity.
Eight interlocking tracks of floating atmospheres and blends of colorful clouds, recorded at La Berceuse (Brooklyn, NY) and Offthesky studio, Denver CO in 2022-23 with […]
Christian Kleine’s tenth album is a pleasant departure from the standard; deftly showcasing electronics of the late nineties and immersing them in an emotional and sonic instrumental stew.
Since his first releases in the late 1990s, he’s always made music that bears a resemblance to his peers while being wholly unique.
