
ElectroMatters: Best Electronic Music of March 2026
Whether you’re looking for addictive synthpop, dreamy techno, or hypnotic drone, you’ll find something to love on these 12 best electronic releases.

Whether you’re looking for addictive synthpop, dreamy techno, or hypnotic drone, you’ll find something to love on these 12 best electronic releases.

The 1967 Detroit Uprising did not create the music that followed; it clarified it by stripping away ambiguity, making it harder to ignore what was already there.

Paired with the proper music—synthwave and ambient electronic tracks—our next visit to the pool can transcend exercise into a meditative reconnection with embodiment.

In March’s best metal, Neurosis make their surprising return, Bekor Qilish descend to extreme avant-garde paths, and Cruel Force mature their thrash.

The admissions in the songs on Morrissey’s Oscar-Wilde-influenced Make-Up Is a Lie converge to create an intimate and candid portrait of the duality of self in the quagmire of celebrity.

Javier Nero’s Alkebulan is state-of-the-art big band jazz, which he discusses with us. Nero uses the large ensemble for color, contrast, power, and momentum.

Internationally renowned artist Jorge Drexler returned to his native Uruguay, but this time he came to dance and tell us about it.

Shawn Colvin knows who she is, and she wasn’t about to start chasing someone else’s pop dreams. That’s what makes Whole New You so captivating still.

The story of how the radically different historical figures the Beatles, Richard Nixon, and Disney World intertwine is one of fascinating coincidence.

Aspects of Bruce Springsteen have endured his many incarnations, perhaps none more significant than his refusal to allow himself, his listeners, or his country to forget the men who served in Vietnam.

Philadelphia band Sweet Pill’s sophomore release is a cathartic journey through writer’s block to rediscover resilience and optimism.

Joni Mitchell’s Turbulent Indigo and Taming the Tiger show an artist in full command, at home in herself and her work, replacing 1980s gloss with intimacy.