“Electronic” Reviews

Even diehard fans might find their patience tried as they try to make their way through Onko’s 67 meandering minutes.

While Hebden’s sonic layering can be bewildering, there’s a definite sense of exploration about it that never disappears.

Whereas before I had heard a formless jumble of sounds, I found something beautiful and truly intriguing.

The title track blends acoustic guitars, turntables, Middle Eastern flutes, and fragile female vocals in a dark, hypnotic manner.

Maduro’s music has plenty of room for development, but this EP proves he’s got a solid foundation.

This album will turn any mundane drive to work into an epic journey down the Autobahn.

Ever so sweet and it will bring a smile to the face of even the most hardened cynic.

The album’s focus is more intent on creating dreamy textures rather than anything more concrete.

An attempt to bridge the gap between Mark Van Hoen’s harsh earlier work and his most song-oriented material.

Guns, Cars & Sitars flows with a sense of style and funk that is deeply infectious, exotic, and most importantly, bad ass.

Despite all of the processing and digitization, an incredible amount of organic warmth emanates from this album.

The main riff sounds a bit to familiar to me, but it’s pleasing to the ear and has a nice trancy melody about it.

Orange Cake Mix presents a blend of shoegaze, glitch, warm electronica, and pop.

I could only fully appreciate Submers’ nautical-themed soundscapes once I listened to them over headphones.

The debut full-length from The Faint’s bassist is full of interesting ideas. Perhaps too many, even.

A blend of jazz, trip-hop, and downtempo music that stood out from everything else I heard at this year’s Cornerstone.

Throughout Finally We Are No One, Múm never lets you forget that live, starry-eyed, wonder-filled humans are behind the music.

Breather has a rich atmospheric sound that’s anchored down and energized by its darker currents.

A nice EP offering 3 quite different tracks.