The Buried In Time affiliate debuts on Evel with eight pieces of modular abstraction that never settle into resolution, only into new shapes.
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The Buried In Time affiliate debuts on Evel with eight pieces of modular abstraction that never settle into resolution, only into new shapes.
Six chapters, a mountain lake, and a High Priestess who never speaks. The Brescia composer treats landscape as plot and silence as instrumentation.
The London composer’s new album brings four years of restrained electronic work into more physical territory, with dub as a guiding reference.
Vincenzo Germano’s opera23 project ends a three-year absence with an album that places contemporary classical, electroacoustic experimentation, and sound art in a shared space.
The duo uses contact microphones and live processing to place the listener inside the resonance of Persian classical instruments—without turning tradition and electronics into opposites.
Alessandro Ciccarelli and Milena Punzi Anfossi build an album around lingering, not resolution, with track titles that carry historical weight chosen only after the recordings were complete.
Giuseppe Ielasi and Fabio Perletta build eight untitled pieces from sparse guitar dyads and granular electronics, with Giulia Bruno’s photographs adding a parallel visual rhythm.
The Iranian sound artist’s new four-part electroacoustic work preserves the discipline of earlier metaphysical albums but turns its focus to crimes against humanity.
The former Daft Punk member’s latest score for ballet leans fully into electroacoustics and ambient glitches, far from his mainstream reputation.
The duo’s collaborative album ‘ITERAE’ documents a decade-long conversation, transforming the Fender Rhodes into a landscape of electronic texture.
