Experimental Electronic Music
The Cardboard Falcon is a profoundly vibrant, impressionistic, cinematic, slow-moving, and melodically oriented neoclassical album that will lead the listener to a state of serenity and contemplation.
This sprawling, sandblasted opus brings together a stellar constellation of avant-garde visionaries—Meat Beat Manifesto, Proswell, Cathode Ray Tube, AZ-Rotator, Rontronik, ΠΕΡΑ ΣΤΑ ΟΡΗ, Scape One, Roel Funcken, Deru, Kindohm, Vytear, and Robert Logan—each sculpting sound into surreal, shimmering form.
Black Shapes’ ZEROFOUR delivers four uncompromising transmissions of Millsian techno, smoked-out acid and analogue futurism, where relentless pressure, machine-driven psychedelia and late-night propulsion do all the talking.
A full-circle encounter with Steb Sly’s The Galaxy Projector, a gloriously funky, retro-futurist transmission that bridges house, breaks and cosmic soul while reminding us that the deepest purpose of music is not simply to move bodies, but to bring us together.
Rather than resolving its strange machinery, Noxi Melank leaves it in motion—a collection of damaged systems, unstable rhythms, and modular forms continually finding new ways to become something else.
With Economy of Movement, Antipodean breakbeat pioneer Social Sport delivers five restless, shape-shifting cuts where fractured rhythms, heavyweight bass and psychedelic atmospheres turn the breakbeat tradition into something fiercely alive and forward-moving.
Trippin’ is timely, the London (Ontario) label cementing the Newfoundland-based producer’s growing profile with a more substantial presence.
Mathias Villard is a very promising sound artist and Past Radiance can easily figure among my top favorite albums for this year. Exquisite, wistful, cinematic, alluring and emotionally transportive. For fans of Alessandro Cortini, Bvdub, Loscil, Markus Fjellström and Terence Hannum. Once more, Affin proves to be in the first league concerning modern-day ambient-lush drone music.
Two decades removed from the clockwork IDM of Polytuft-Tech, Tim Martin’s returning light (Home Normal) and beneath still stars (handstitched*) find him stripping everything back to drift, texture, and quietly resonant melody, resulting in two companion albums that feel less like separate releases than different sides of the same long, unhurried thought.
God Is Everything You Are Not is built from voice, MicroKORG synthesis, a microphonic soundbox from LeafAudio, and field recordings. Seven pieces, just under 36 minutes. The release notes describe grief approached as passage rather than narrative, and that framing holds, this record puts you inside the duration of something rather than telling you it happened.
Serge Geyzel’s So I Leave delivers a hard-hitting mix of dark breaks, deep bass, glitch, acid, and experimental energy across three tightly focused tracks.
wave_function ultimately displays an artist working in top form, mapping out a series of experimental electronic terrains that converge into something uniformly disjointed, immersive, and quietly mind-bending.
The Consumers Research and Development Label is clearly not trying to be one thing, and that’s the most encouraging part of this reintroduction. A techno veteran finally putting out his own record after twenty years of platforming everyone else, sitting right next to a hip-hop travelogue built out of literal years of instability and constant movement, that’s a genuinely odd pairing on paper, and it works precisely because neither release is compromising to fit next to the other. They just happen to share a home.
![[2View] Maps and Diagrams’ beneath still stars (handstitched*) & returning light (Home Normal)](https://igloomag.com/wp/wp-content/uploads/2026/10/maps-and-diagrams-returning-light-beneath-still-stars_feat-75x75.jpg)
