Danz CM's album 'LÄRM!' abandons pop structures for tape-saturated jams inspired by the kosmische music of '70s Germany, while her Synth History project documents the pioneers and gear that made electronic music possible.
From the Fairlight CMI to the 1940s Ondioline, Erika Dohi built her sophomore album using rare instruments with distinct personalities, astrology as a compositional framework, and meditation practices that confronted loneliness.
Stacey Hine and Neil Kleiner explain how their debut 'We Weren't Programmed for This' treats guitar as a delicate interruption, electronic glitch as meditation, and degraded tape loops as the perfect metaphor for fragile memory.
Five years after releasing 'Conservatory of Flowers', Maria Teriaeva revisits her Buchla-driven sophomore album with fresh perspective, explaining how anxiety and hope remain constants even as her circumstances shift from abundance to constraint.
The composer behind Chicago's Lynyn project reflects on 'Ixona', absorbing UK electronic music, his collaboration with visual artist Owen Blodgett, and the mature process of whittling down excess.
The experimental musician splits her time between soldering synthesizers at Buchla and touring the country with wearable instruments that let her move freely through audiences. Her intimate new album, 'My Inner Rest,' offers a glimpse.
The Philadelphia-based synthesist and software engineer specializes in distilling thousand-dollar Eurorack workflows into affordable plugins. His latest creation, Waymaker, democratizes the expensive world of modular synthesis for bedroom producers everywhere.
The Orchestral Manoeuvres in the Dark frontman discusses why Kraftwerk matter more than the Beatles, how political resistance sparked 'Bauhaus Staircase,' and why his band refuses to make "shit records."
Isaac Sherman's debut 'A Pasture, Its Limits' spans years and cities, built from hardware synthesizers, gibberish vocals, and a belief that "the humanness comes through music when you strip away all the glitz."
The British music producer and Polish clarinet virtuoso built 'The Universe Will Take Care of You' in four spontaneous London studio days, capturing the act of playing without thinking.
Two musicians from different worlds found common ground in their rejection of static electronic music. The result is 'All the Light of Our Sphere,' an album that treats improvisation as narrative and loops as living things.
Fred Thomas's latest release, 'Critical Violets, Dream Erosion Pt. VII,' continues his "drumless" series by embracing musical reduction as a creative philosophy, proving that stripping away familiar elements can lead to his most compelling music yet.