Two musicians from Gdansk team up as Nanook of the North to weave ambient magic for an old silent film of the same name.
The "universal dilettante" Holger Czukay revolutionized music and minds, and this new collection is a fitting homage to what can be accomplished by a refusal to adhere to the restrictive definitions of style or genre.
New York synth duo House of Blondes tie together their new Time Trip with strands of Brian Eno, Vangelis, and futurist thump.
Guitarist/composer Mary Halvorson offers as much encryption as she does revelation on her latest album.
On the enchantingly experimental new album The Invisible Comes to Us, Anna & Elizabeth balance folklorist obsession with avant-garde sonic exploration, resulting in a deeply immersive and enriching opportunity for the ears.
Rupert Clervaux explores the perilous times in which we live through the words of various thinkers and critics over a mix of electro-jazz and leftfield techno.
Necropolis' themes of timelessness, decay and death paradoxically reveal Sol Invictus' founding member Tony Wakeford at his best.
Bobby Previte's Rhapsody is a rapturous ode to the art of travel and the sense of motion that it brings.
Chris Carter Creates an Overarching Etude on Experimental Electronic Music with 'Chemistry Lessons Volume 1'
Legendary electronic artist Chris Carter returns with his first solo release in 20 years, producing an overarching etude on experimental electronic music.
Mount Eerie follows the remarkable A Crow Looked at Me with a similarly styled album that will be of interest to Mount Eerie devotees but feels more downbeat and less necessary than its predecessor.
This talented trio gives us the first glimpse at their newest project with "Tarmac", which introduces dense layers of live, organic elements into an ethereal electronic landscape.
Ryuichi Sakamoto's 'Async: Remodels' Is One of Those Rare Remix Albums That Enhances the Original Recording
Ryuichi Sakamoto's async sounds almost as good when it comes out the remix wringer as Async: Remodels.
Kevin Barnes is back to experimenting. But this time around he drapes the weirdness in a layer of danceable grooves.
On Anna von Hausswolff's Dead Magic the darkness is deeper and the light is brighter than in anything in popular music today.