Experimental Electronic Music
Sacred Drift is an enjoyable listen, and the clicks, reminiscent of the click-hop movement that emerged in the early 2000s from artists like Microstoria, Pimmon, and early Matmos, bring back those familiar click sounds that add curiosity to glitch textures of an ambient piece.
Ouroboros emerges as a fully realized assembly of extraterrestrial circuitry, endlessly bent, folded, and reconfigured into excitingly unique forms.
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.
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.
Field Recordings is an ongoing long-term project in which the artist, Ard Bit (Ard Janssen), listens to specific places and environments. Each release is a self-contained album, based on field recordings made on location. The recordings are either presented close to how they were captured or layered with musical and experimental forms derived from the original material. The project does not follow a fixed album cycle, but develops over time as a continuous practice.
Two albums, two deeply immersive worlds, where restraint, process, and patience become the most powerful instruments of all.
For an artist whose work is rooted in the landscapes and quiet moments of Patagonia, Tesoros is Lumtz at his most personal and his most generous—sharing an archive of walks, notes, and small musical experiments as if handing you his journals and saying, here, take a look. Most listeners will find something in it. The ones who slow down enough will find quite a lot.
Ultimately, Arrows of Time serves as a thoughtful reminder that artistic limitations often produce the most compelling results. By reducing options, 1981OCTOBER5 expands expression. By rejecting excessive processing, the artist uncovers remarkable warmth and intimacy.
Iranian experimental musicians Shahin Entezami (aka Tegh) and Adel Poursamadi reunite for their third collaboration album Bayal, a creative response of greyscale synthesis, violin, and traditional instrumentation to a 1964 collection of short stories by seminal Iranian author Gholam-Hossein Sa’edi.
Piercing electronics and cinematic sonic extensions are folded into colossal forms across Jérôme Chassagnard’s Hora Fugit, an 11-track suite that constantly contracts and expands.
Even as the music voyages across the celestial empyrean of space, he opens up new territory, diving downwards into the underworld where the mysteries of Orpheus (poet, musician, prophet) are encountered in their cavernous depths. Here the Orphic lyre is a synthesizer. Here it is a collection of psychotronic modules who route electricity to the point where it tingles with lucid scintillation. This is a third ear music awakening the inner senses to subtle vibrations.
In Rotation across the past several weeks and months, this multi-view column surveys a shifting electronic landscape shaped by bold and forward-thinking artists. Expect fractured rhythms, glitch aesthetics, abstract experimentation, mechanical precision, industrial pressure, melodic detours, and bass-heavy electro transmissions from Alavux, Annie Hall, Delta Division, Koloah, Low Battery Orchestra, Modul, neuroboy, Nocto, R.I.O.T, Trofusin, and Voltaire.
Radio Relativa Mix #53 captures a season of standout releases, unforgettable club experiences, and creative exchanges, weaving together the sounds and influences that have defined the past few months.
Now You Exist gives me hope that maybe 2018 was not the last time we heard from The Field, because perhaps 2026 won’t be either. In all seriousness, this seems to be a proper comeback in a year of proper comebacks. This EP will not disappoint any longtime fan, but maybe it’s only the beginning of a new era for Willner, who hopefully hasn’t run out of ink—or MIDI tracks.
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