On Ways of Seeing, electronic producer and visual artist Konx-om-Pax moves away from dark ambient and rave to melodic electronica, alluding to the roots of Berlin techno.
Jambinai's ONDA finds cross-cultural influences from traditional Korean music, post-rock, and atmospheric metal, but their ethos is certainly more complex than a fusion or hybrid project.
On her third full-length PROTO, electronic experimentalist Holly Herndon wonders how AI can contribute to the longstanding human tradition of shape-note hymnals, exploring the possibilities and ethics of present and especially future AI protocols in art.
As a vast collective of collaborators joins for spoken word, orchestral ballads, and nostalgic trip hop cuts, UNKLE's The Road: Part II (Lost Highway) compiles as many ideas as it does features.
On Joni Void's second full-length Mise En Abyme, plunderphonic electronica is not only a technique for sound construction but also a deconstructive method for shattering and reordering the self.
On her debut full-length Death Becomes Her, Cape Town artist Angel-Ho introduces her voice and amorphous trans identity, dismantling the colonial imaginary and its supposed binaries.
SPELLLING's second full-length Mazy Fly escapes present genres and ages, from witching primeval ballads, sultry alternative R&B, to intergalactic disco. Simply, it's celestial, Afrofuturist, and wake work.
On In a Paraventral Scale, the first chapter of the "triptych sonic documentary" Flush Real Pharynx, experimental electronic composter Lee Gamble explores the semioblitz of urban and virtual spaces.
Kid Koala returns with the second volume to his ambient-vocal collaboration series. Music to Draw To: Io, featuring Trixie Whitley, is an album that does not provide background music but an active participant of the listener's creative process.
Oneohtrix Point Never's latest EP Love in the Time of Lexapro supplements his prior 2018 full-length Age Of, with a small collection of exclusives and collaborative reworks.
After a four-year absence, Vessel's Queen of Golden Dogs leaves behind desolate beats for stunningly over-saturated electronic and chamber compositions.
On Primary Progressive, experimental producer Mr. Mitch reflects upon the contradictions of grime music and MS, "making the club both move and think".
