Experimental Electronic Music
Music like this makes the difference between production and artistic creation clear: in this sense, the generative substrate underlying these tracks is a starting point, a bedrock of naturally occurring variation that nnirror cherry-picks and spotlights with arrangements pushing the limits of complexity.
If you, like me, may have been struggling to keep up with all the labels and artists you follow throughout the year, then compilations like Past/Present may come as some sort of godsend. Highlighting just about anything that Past Inside the Present have been pumping out in 2024, this compilation spans a lengthy three hours and showcases all the various shades of ambience that PITP specialize in.
Both subtle and saturated with distilled microsound layers, Alpi Graie e Pennine is simply otherworldly and comes highly recommended.
Texture is most certainly this album’s ambassador, but it’s not just experimentation with noise. There’s a lot of subtlety and continuity, both of which make […]
Compared to Grischa Lichtenberger’s previous efforts, 1224_28_lv_1_re obliteration—released by South Korean label dingn\dents at the extreme tail end of 2024—leans even further into the digital noise side of glitch.
The four fields of noise on this album connect different points in deep time to an essential temporal unity in a carnival of whirling chaos whose sound is as powerful as any cyclone or vortex. It can suck you in, and through its portal, transport your mind into another world of consciousness.
Rontronik’s taste for noisy textures and atmospheric shines on Zero Nine. Although in terms of composition, the album runs smoothly, its production is solid enough to demonstrate a good sense of timbre, and the sound palette he chooses to highlight is astounding.
This EP, which is ultimately calming, contemplative, and spot-on in its sonic approach, is a prelude to an album that we’re pretty excited to hear will (also) be released on Wormhole World in February 2025.
America’s Greatest Noise: About RRRecords, Emil Beaulieau, and the True Sound of Love by Frans Da Waard (Korm Plastics). The focus is centered on the noise scene in the United States, as might be expected for a book about America’s greatest living noise artist.
The atmosphere herein simply spills over non-existent—perhaps even floating—boundaries with a surplus of instrumental virtuosity, roughened textures, and vaporous brittle tones that time shift and alter before our own eyes.
This closing retrospective explores a dozen sculpted electronic textures and tones, where rhythmic audio structures collide and collapse, crumple and fold, as the Australian label shifts into the forward-thinking Glitchpulse Records outfit.
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