Experimental Electronic Music
Dublin-based sound artist Ian Nyquist returns with a new album (Gilded) that bridges ancestral traditions and modern experimentation. Blending reimagined Irish instruments, ambient textures, and hypnotic rhythms, he crafts a lush, transportive soundscape both organic and otherworldly.
Milwaukee-based multi-instrumentalist, composer, painter, and filmmaker Max Devereaux explores the tactile, physical potential of the turntable on Aguja. Through fragmented vinyl manipulation, layered improvisation, and sonic collage, Devereaux transforms noise and decay into structured chaos, echoing the experimental minimalism of artists like Oval and Alva Noto.
Everyday Dust returns with Shrouded III, a fever dream of decayed synths, eerie textures, and hallucinatory soundscapes that blur the line between madness and revelation. Paired with the wild remix project Mossed in Translation, these releases plunge deeper into the project’s haunted world—unsettling, immersive, and impossible to ignore.
Undertones doesn’t merely explore disorder; it thrives in it—spinning volatile frequencies into an oddly meditative turbulence, where musique concrète meets instinctive structure, and where noise becomes a living, breathing force.
Hello Spiral’s Detached Objects (Moonside Tapes) blends noise, dark ambient, computer music, and musique concrète to defy easy categorization. By severing sounds from familiar meanings, it creates an unsettling atmosphere of estrangement, embodying Viktor Shklovsky’s idea of “making the stone stony” and challenging passive listening.
It’s a vortex of unstable harmonics and whispering frequencies, built from minimal static and fractured melodies that seem to constantly evolve, folding in on themselves.
It’s industrial rot turned ritual, where mechanical howls and corrosive tones blur into something akin to musique concrète or audio collage—less composed than unearthed.
This strangely and mysteriously moving compilation album brilliantly honors the gloomy and surreal atmospherics of Lynch’s early experimental film masterpiece, Eraserhead.
Rather than relying on brute force, kaoshipnótico crafts dynamic tension across the album’s jagged structure. Found sounds, metallic screeches, circuit-bent textures, and industrial rumble all collide in waves of distortion that suggest both panic and ritual.
Through white noise, thorough in its separation and diffraction of constituent tones, before reprocessing them and sending them back out into an abyss of stars as if these horns are calling to some alien entity or god far beyond the reaches of our usual means of communication.
