Experimental Electronic Music
Simon Heath closes the release notes with “May you rest in peace.” There’s nothing to add to that. The Yasu Ether Project is an overall haunting and pleasant experience, a final document of an artist who understood that darkness and stillness aren’t opposites of beauty but conditions under which a particular kind of beauty becomes possible. César Alexandre knew that instinctively, and this album proves it one last time.
Field of Coincidence is the debut album documenting the collaboration between LA-based artists Jesse Perlstein (Sontag Shogun, AxOxH) and Michael Robert Chadwick (Fake Sword, Plum Professional), aka Trellis. Perhaps the perception of coincidence can serve as a link to folk psychology and philosophy as well as supernatural, occult, or paranormal claims, psychological reasoning, and the statistical probability of chance events.
Empire of Sand provides impeccably built darkened droning soundscapes with an emotional and nihilistic apex. The whole sonic architecture is centered on assaultive, multi-layered harsh electric guitar patterns; micro-noisy, grainy ambient electronics; and a grandiose, spellbinding dystopian cinematic component.
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.
Coniglio has made an album that honors the craft of earlier soundscape practice while carrying it into a private, contemporary meditation on cause, chance and presence. It is beautiful, grave, lucid, quietly overwhelming.
Outside the limits of Your Sight arrives as something closer to an exploratory document than a straight club record, and the opener makes that clear immediately. It doesn’t set you up for what you’d expect, instead it eases in with something eerie and ambient, almost hesitant, like a producer deliberately withholding the more familiar version of himself to see how long you’ll follow.
Austin-based composer/sound designer TJ Dumser (Six Missing) returned to roots for drift, sway—eschewing scale for intimacy in a minimal set mixing guitar loops and vintage synths with tactile timbres to create soundscapes for deep listening, reflection and filmic ambience.
(Mood Starters) is a dark, hypnotic, and eerie techno-ish industrial album surrounded by dystopian themes of a humanity trapped in an uncertain future, standing before unspeakable malefic forces.
The songs flow right into each other and are only composed of what seems to be a few layers each, but there is a fond fuzziness to them, that glistens like the light reflected off the water. There is a slight melancholy tinge to the music, but it’s not overpowering.
A peaceful, singular, and cozy post-ambient journey made of lush sounds, with some chilling moments based on fragmented memories, that will ravish listeners of digitalized tape music and carefully crafted, slowly moving soundscapes.
Following chilling mysteries emerging from Arctic expeditions and unveiling the metaphysical strength captured in ice-cold landscapes, the droning sound art project Netherworld (alias Alessandro Tedeschi, founder of Glacial Movements Records) is back to the forefront.
![[2View] Koho / Koskenlahti, Mark Reid Bulatović & Simone Spampinato / Fredrik Rasten (Isthmus)](https://igloomag.com/wp/wp-content/uploads/2026/08/koho-kos-mark-reid-2view_feat-75x75.jpg)
