Tag: experimental

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Kelly Moran – Echo In the Field

Announced alongside a new album, Don’t Trust Mirrors due in October, Kelly Moran’s Echo in the Field pairs prepared piano with synths and strings, creating a piece that shifts between delicacy and propulsion. The accompanying video, directed by Katharine Antoun, places Moran herself at the centre. Speaking about the decision, she said: “Few things in this world terrify me more than the idea of me dancing in a music video. I wanted to address that fear head on because this is the first track I’ve written that makes me want to get up to dance, headbang, and generally lose my shit.”

https://kellymoran.bandcamp.com/album/dont-trust-mirrors

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Burial – Comafields

A new Burial record is an increasingly rare thing: his new EP Comafields / Imaginary Festival is his first original material for over a year, following a split release with Kode 9. Comafields opens with a sample of Russell Crowe as Noah from Darren Aronofsky intensely odd 2014 movie (sure) and then meanders through all the Burial tropes: vinyl crackle, celestial rave, abrupt tonal and rhythmic shifts, ethereal, whispered vocals, before seemingly sampling himself with the final shuffling percussive flourish. And… it’s great!

https://burial.bandcamp.com/album/comafields-imaginary-festival

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Demdike Stare, Cherrystones – Thee Oath

Described by the ever understated Boomkat as “up there with some of the most satisfyingly deep and frazzled gear this century”, I’m not sure whether I enjoyed or endured Demdike Stare’s new LP Who Owns The Dark?, but it certainly left an impression. A long-in-the-making collab with Cherrystones, it’s even sketchier and more unnerving than To Cut & Shoot from earlier this year, which is really saying something.

https://boomkat.com/products/who-owns-the-dark

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ØXN – Cruel Mother (Ben Frost Remix)

The bones of ØXN’s folk-horror lament are still visible in this expansive remix – Radie Peat’s (also of Lankum) voice remains spectral and clear – but Frost drags the track into darker terrain, stretching and fraying its edges until it feels less like a song and more like a summoning.

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Orieta Chrem – KON

Fantologia I is a 17-track compilation curated by Quixosis and DJ +1, bringing together experimental electronic artists from across Latin America. The release explores themes of uncertainty and instability in the region, focusing on the idea of hauntology and the disappearance of promised futures. The music ranges from ambient and textured soundscapes to more rhythmic, club-influenced tracks, tied together by a shared sense of tension. Arriving at around the midpoint of the VA, Peruvian artist Orieta Chrem’s track KON blends Aphex Twin-esque disquieting synth lines with haunting vocals and clipped drums.

https://tambien.bandcamp.com/album/fantologia-i

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Lauren Duffus – Liar

Unbelievably good, taken from her recent Can’s Gone Warm EP. Sits somewhere between John Glacier and Kate Bush. Ridiculous.

https://laurenduffus.bandcamp.com/album/cans-gone-warm

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Maiya Blaney – And

Maiya Blaney describes her second album A Room With A Door That Closes as “a love letter to her blue,” an emotional state that she defines as “a kinetic, intense, and dark energy that needs to be expressed as soon as it is felt.” The eleven songs on the album span radioactive kiss offs, sorrowful meditations on yearning, and gossamer reveries about self image, with the stand-out And moving through pitch-shifted drone, majestic strings and soft guitar over the course of its 6+ minutes.

https://maiyablaney.bandcamp.com/album/a-room-with-a-door-that-closes

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Lucy Gooch – Night Window Part One

On her debut album Desert Window, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. At the heart of Lucy’s music is her rapturous, at times operatic vocal, with which she bring to the fore more than with previous releases. The result is described as “an atmospheric balance between Kate Bush and Cocteau Twins harmonies” which is risky ground with which to invite comparison; the fact that I’m not mad about it shows just how good this album is.

https://lucygooch.bandcamp.com/album/desert-window

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Rainy Miller – Then Casts Shadows, From Afar (A6 – Pendleton).

Rainy Miller’s Joseph, What Have You Done? is a stark, atmospheric dive into fractured memories and Northern Gothic landscapes. Rooted in Lancashire’s grit, Miller blurs grime, ambient, and spoken word with raw, confessional storytelling while voice notes and field recordings trace threads of trauma, estrangement, and resilience. It’s by turns sad, bleak, furious and nihilistic, but never less than completely engaging.

https://rainymiller.bandcamp.com/album/joseph-what-have-you-done

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Kara-Lis Coverdale – Offload Flip

I’m really enjoying Kara-Lis Coverdale’s new album From Where You Came, although starting your bio with the line “Kara-Lis Coverdale creates music that transcends reality” is a bit much tbh. It’s a minor gripe when the music is this engaging though, especially Offload Flip which has just the right amount of low end wallop to perfectly offset all the dreamy, spectral synths.

https://kara-liscoverdale.bandcamp.com/album/from-where-you-came-2