Experimental Electronic Music
Natural recordings, soft rhythms, distortion, metallic noises, melody, and digital artifacts continually lean against one another without settling. By the end it feels less like eight compositions and more like half an hour spent inside a system that was continuously adjusting itself while you were listening, and never quite finished.
The Bug’s Ladybug 2 pairs his heavy, hypnotic bass pressure with Friday Night Plans’ hushed vocals, turning six versions of “Miss U” into a dark, immersive journey where dub, shoegaze, and electronic melancholy slowly dissolve into one hypnotic flow.
From its roots as a music blog to a fiercely independent label built around physical releases, Somewherecold Records has grown from Jason Lamoreaux’s love of experimental music into a deeply personal effort to give artists and their work something lasting to hold onto.
Steve Hauschildt returns after six years with a new album on Simul, still experimenting with the vast territories of audio research and panoramic, sentient ambient music on Aeropsia.
Overflowing delivers an oceanic body of shifting harmonies, melodious vibes, and cool, soft-rock resonances. Sparse textural ambient motifs punctuate the ensemble, as in the granular and free-flowing “Sunbird.” Emotionally, the music is entirely connected with hope and gentle bitterness.
Cosmos in Collision’s Unwound arrives two years after The Passage of Time and confirms the direction of an ever-evolving project, capable of building dense and cinematic atmospheres. The cover artwork is an original watercolor by Cosmos in Collision, visually translating the narrative arc of the record: three chromatic fields blending from indigo to black, crossed by a white thread that slowly thins until it disappears.
The finest quality of Ladybug 1 comes from its ability to treat dub as an art of emotional memory. Each return of the theme seems to erase something and make it more vivid at the same time. In the leaner versions, rhythm becomes a heavy step through smoke, reverbs widen like liquid metal, silences speak with the same intensity as the impacts.
fydhws captures brittleness within these sonic artifacts with remarkable clarity. While the liner notes illuminate the narrative, sound speaks just as powerfully on its own, mesmerizing through collapse rather than resolution.
Concealed Under A Strange Tongue suggests an elegant, diversified, and pleasant listening experience where meandering emotional chords meet spacious ambient electronica, processed field recordings, occasional sampled voice elements with a near new-age tone, and a neo-psychedelic/cosmic Americana feeling (for the sunlit psych-country-esque guitar sequences), along with near Steve Tibbetts-influenced mystic grooves.
Released on May Day 2026, at the halfway point between the spring equinox and the summer solstice, Reflective is a reminder of the potential of our international connections and the world we share. Where do we want to go with what is ahead?
Seefeel return with Sol.Hz, their first full-length in fifteen years. Mark Clifford and Sarah Peacock — the core duo that’s anchored the band since its formation in the early 1990s, are back, and they haven’t strayed far from the blueprint. Seefeel built their reputation on blurring the line between shoegaze and electronic music, fusing guitar-based textures with ambient techno and dub production techniques.
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