Category: Electronic

2026 Album Roundup


So much music, so little time to review everything, but that doesn’t mean I haven’t been listening. 2026 has been a great year for music so far, and I would like to take this opportunity to spotlight some albums I didn’t get a chance to review. 


Genre is Death – Attractive People

Though a myriad of modern Post-Punk bands incorporate elements of No Wave, very few bands fully epitomize the genre that had its heyday in late 70s-early 80s New York like “Genre is Death.” Taking the dissonant nature of No Wave, and combining it with heavily distorted guitars and minimal drum machine, the band’s second full-length album Attractive People is the sign of band that has no interest in being trendy, but has all the interest in bringing an uncompromising sonic experience to the world of modern Post-Punk, all while being melodic enough to hold every listener’s attention instead of pushing them away with abrasiveness. 

https://genreisdeath.bandcamp.com/album/attractive-people


Crooked Man – Crooked Stile

House music is in late-stage broism. Many of us yearn for something less formulaic, and something with more personality. Though there are some outliers, the EDM-ification of Electronic music continues to reign supreme, which spawns an exhausting number of DJs and producers playing it safe by vomiting out the most commercial sounding music. Leave it to a veteran like Richard Barratt to bring us back to what makes House music so infectious. Most famous for being one half of the duo “Sweet Exorcist,” Barratt knows Electronic music and its various subgenres such as House and Acid Techno inside out, so it’s no surprise that his new album Crooked Stile under his “Crooked Man” moniker is pretty great. This album is refreshing. 

https://crooked-man.bandcamp.com/album/crooked-stile


Pond – Terrestrials

Australian band “Pond” describe their 11th studio album Terrestrials as “goths at the pub,” and this is the truest description of the album. Much like what “MGMT” did on their album Little Dark Age, “Pond” departs from “Pink Floyd shit,” and incorporates 80s-driven New Wave, Goth, Post-Punk, and a dash of Glam Rock on Terrestrials, and they nail it! 

https://pondling.bandcamp.com/album/terrestrials


IDK – E.T.D.S.

A celebration of Hip Hop. New school and old school. Inspired by the immediacy of mixtape culture of the 90s and 2000s, IDK has released a mixtape that’s quite possibly the most ambitious and interesting Hip Hop release I’ve heard in years. If there’s a release that can bridge the gap between old heads and new heads, this is it. Blending Boom Bap with modern Pop Rap hooks, and let’s not forget the fantastic breakbeat of the track “Stigma,” IDK is shaping himself to be one of the most interesting rappers today.

Odor Eater – But For Who?

Saying I like 80s-tinged music is like Robert Smith saying he likes eyeshadow, yeah no shit! So it’s no surprise that a band like “Odor Eater” has my attention. The Portland, Oregon-based duo wear their “Devo” and “Depeche Mode” influences on their sleeves, but also channel something distinctly their own on their debut album But For Who? Bands that go this route often sound like a pastiche of the beloved era of teased hair and synthesizers, but “Odor Eater” sounds natural doing it. This music is catchy, fun, political at times, and features some killer clarinet. 

https://odoreater.bandcamp.com/album/but-for-who

Earth Tongue – Dungeon Vision

New Zealand’s own “Earth Tongue” aren’t afraid to spotlight their “Black Sabbath” worship, but aside from some Doomy and fuzzed-out guitar riffs, the band resides in their own world filled with Dark Fantasy, Horror, Sci-Fi, and just about every nerdy thing you can think of. This music packs a punch, and there’s only two members! 

https://earthtongue.bandcamp.com/album/dungeon-vision

Genesis Owusu – REDSTAR WU & THE WORLDWIDE SCOURGE

Using the term “genre-defying” is a bit of a cliché at this point, but in the case of Australian rapper Genesis Owusu’s music, there isn’t a more appropriate term. Fusing Hip Hop, Punk, Post-Punk Revival, Indie Rock, Funk, and New Wave, REDSTAR WU & THE WORLDWIDE SCOURGE is Owusu’s most eclectic album yet, and God damn it’s his best! It’s a political album that critiques the current state of propaganda, systems of inequality, the rich, and alt-right extremism. This album couldn’t have arrived at a better time.

https://genesisowusu.bandcamp.com/album/redstar-wu-the-worldwide-scourge

The Healing Power of Horses – Summer Indoors (or outside wearing black)

Blending Trip Hop, Indie Pop, Industrial, and Experimental with deadpan vocals, UK band “The Healing Power of Horses” sounds like a band out of the “Windmill scene” in Brixton. Though they weren’t part of this scene, they take the PVA-style to the next level and show much promise on their new E.P. Summer Indoors (or outside wearing black). Hopefully there’s a full-length album on the horizon. 

https://thehealingpowerofhorses.bandcamp.com/album/summer-indoors-or-outside-wearing-black


Written By: Steven Sandoval

Boy Harsher Announce New Album “Get Mean,” Share New Single “Hard Beat”

Following their recent 80s Pop Rock-tinged banger “Jeans,” Darkwave duo “Boy Harsher” have officially announced the release of their new album Get Mean. The album will drop September 18th, and follows The Runner, which was the soundtrack for their short film of the same name back in 2022. The duo have also released another new track off the album titled “Hard Beat.” About the album, the band have stated “Get Mean is a meditation on love, loss, and survival.” The duo confronts “grief and heartbreak head-on, tracing the difficult process of moving through loss and discovering a path toward renewal. At its core, Get Mean is a redemption album – a document of one of life’s most painful chapters and the strength found on the other side of it.”

Pre-order: https://boyharsher.bandcamp.com/album/get-mean

Album Review: Boards of Canada – Inferno

Rating: 9/10

Boards of Canada having a large gap in between albums isn’t exactly out of the ordinary, but 13 years? That’s a long time. A lot of us were starting to wonder if we were going to hear from the Scottish duo again, and if so, would it be necessary? Do we need a new Boards of Canada album? Considering their impressive discography of music laced with nostalgia, soaked in retro synths, and rich in ambient atmospherics, the two already have an iconic body of work under their belts. The already mysterious and reclusive duo could have disappeared from the music world completely, which would have added to their mystique, and even though most of us would want to hear new music from the two, this would have been a fitting bow out, but 13 years after their album Tomorrow’s Harvest, it’s evident the duo have more to give, and my God they’ve gifted us with one of their most captivating, hypnotic, and thematically dense albums yet. The album is titled Inferno, and opens with the track “Introit,” which takes its name from the opening of a worship service that’s usually a psalm, hymn, or chant, and the familiar synth arpeggio featured on the track immediately transports us to a world we’ve missed. I liken it to the feeling I had when I saw the opening crawl to Star Wars: The Force Awakens in theaters, but unlike The Force Awakens, what follows this intro is enthralling content. After the familiar sound in “Introit” fades away, we’re immediately introduced to a reinvented Boards of Canada. Sure their signature style is still there, but that sense of childlike wonder and dreamy Retro-futurism takes a back seat while eerie soundscapes, moodiness, and haunting vocal samples are front and center, and I mean it when I say these vocal samples are haunting. Packed with themes such as religion, religious cults, existentialism, and biology, this album perfectly utilizes vocal samples taken from documentaries about the effects of PCP, a conversation between a father and his son who has cut off his entire family to join the “Children of God” cult, Aleister Crowley quotes, a documentary about the development of a chicken embryo, and references to Nostradamus, and this all perfectly gets the duo’s point across without them having to say a word. However, is their point really that clear? Sure they want us to take something away from this album, or else they wouldn’t have made this thing so dense, but I’ve seen countless heady reviews of this album from people claiming with certainty that this album is a critique of religion and religious cult leaders who prey on the vulnerable, or that this is their way of commenting on how our uncertainty on the meaning of life and why we’re here has spawned so many philosophers and religions who try to give us answers on why we’re here and what happens after we die, and the dangers that come with certain religions, and though this is likely what they’re getting at, there’s one thing a lot of people are neglecting to mention when describing this album, and that’s nostalgia. Nostalgia is a word often associated with Boards of Canada. From the children’s TV show and speak and spell samples on Music Has the Right to Children, to the capturing of the feeling you get when you watch your favorite video nasty on Tomorrow’s Harvest, it’s been very clear that retro media has made a lasting impact on the duo, and contrary to popular belief, I don’t think that nostalgia is absent on Inferno. Remember those televangelists your grandparents used to watch? Those frightening red-faced crazy-eyed men who would yell at you through the TV screen? Remember those old documentaries about morbid cult tragedies? Remember all the history we’ve learned about violence and unnecessary wars that were brought on by fundamental religious beliefs? Remember satanic panic? These are all things that are engraved in the history of humanity, and one of the most popular mediums used to teach this history is media, so I don’t think it’s a stretch to say the boys from BOC have nostalgia for these things. That love for retro media is perfectly combined with the overall themes of this record. There’s no telling if there’s going to be another Boards of Canada record after this one, and when that’ll be if there is, but if this is their final album it’s an interesting album to end on, considering it’s their darkest work by far. Maybe that’s where they’re at mentally when viewing the current state of the world, because these are truly frightening times. Christian fundamentalists and conspiracy theorists are currently in the White House, educational programming has been replaced with short-form content online spreading misinformation, and all of these current wars have left many of us anxious and frightened, so it’s no surprise that an album like this would be released in this day and age, but a common theme that prevents this album from being complete doom and gloom is the theme of life itself. From the EKG machine sounds on “Memory Death,” to the heartbeat on the closing track “I Saw Through Platonia,” the preciousness of life is beautifully symbolized, and this reminds us to value life while we can, and though it may seem impossible at times, it’s important to find beauty in the chaos. 

Written By: Steven Sandoval

Album Review: Bustié – Throb

Rating: 8/10

Due to loss, grief, and immense focus on perfectionism, New York-based act “Bustié’s” sophomore album Throb faced many delays, but now 7 years after their debut Birds of Paradise, the album has finally arrived at the perfect time. Living in the U.S. right now is frightening if you’re a person of color, LGBTQ+, or just simply don’t support a fascist regime, so now more than ever we need music that comes from people of said communities to inspire, provide hope, raise awareness, and provide a dance party of escapism, and Bustié does just that. Combining genres such as Hi-NRG, Synth Pop, EBM, and Freestyle, Throb celebrates the elements that make these genres so undeniable and infectious. Topped with lead member Angelika Padilla’s chant-like vocals that provide another layer of rhythm on top of the already entrancing beats, this music will make anyone want to move. Whether you’re the type to cut up a rug on the dance floor, or the type to stand back and bob your head to the beat, this music is for you. Thematically this album deals with lust, loss, and sexuality, and though it’s often dark sonically, it’s perfectly contrasted with heavy elements of 80’s-styled Pop which helps prevent the album from diving into doom and gloom. It’s Janet Jackson at a Nitzer Ebb concert, and it’s fantastic. 

Written By: Steven Sandoval

Album Review: TOMORA – COME CLOSER

Rating: 7/10

Unlikely musical collaborations can sometimes be the most pleasant surprises, and in the case of Electronic supergroup “TOMORA,” two artists from two completely different worlds come together to create some enticing dance music. After appearing on various festival lineups, the identities of “TOMORA” were a mystery, until the group was officially announced in late 2025. The duo consists of Tom Rowlands of the iconic Electronic duo “The Chemical Brothers,” and Norwegian singer/songwriter Aurora Aksnes. Together the two have released their debut album COME CLOSER, and this album has some irresistible tracks. The melding of the duo’s differing styles works quite well. Tom Rowlands’ input is noticeable as he incorporates elements of Big Beat, Techno and Breakbeat, all genres often associated with “The Chemical Brothers,” and this is cleverly combined with AURORA’s brand of ethereal Art-Pop, which creates a cinematic and beautifully dramatic atmosphere as we the listeners dance our asses off. However, being 55 minutes in length, this album could’ve been a more solid release had the fat been trimmed. Not all these songs work. The album is at its best when the high-energy and more upbeat tracks hit. “RING THE ALARM” is a riotous banger that uncompromisingly attacks the listener with obnoxious, but rather catchy intensity, “SOMEWHERE ELSE” is a dancey and euphoric earworm, and “I DRINK THE LIGHT” is a dreamy tune that sounds straight out of the late 90’s or early 2000’s, but the more downtempo tracks are a bit drab and unimaginative, and when the excitement wears off, the comedown is hard. Which is frustrating because the duo is capable of crafting a good slowed-down tune. “A BOY LIKE YOU” is a hauntingly moody Trip-Hop track that absolutely needs to be featured in a movie or a movie trailer, but most of the album’s slower tracks lack that engaging style. This album isn’t perfect, but it has more good than bad, and it’s always a pleasant experience when two worlds collide in a way that works. 

Written By: Steven Sandoval

Boards of Canada Have Returned

What a different time 2013 was. GTA V was released, Vine was still a thing, and Breaking Bad reached its series finale, but there is also another event that took place that year for us music nerds, and that was the last time Scottish Electronic duo “Boards of Canada” released a new album. That album was titled Tomorrow’s Harvest, and it was a dark Ambient odyssey that featured the duo’s signature Sci-Fi sounding synth textures and atmospherics. Now, 13 years later BoC have returned. Which means we’re getting a new Boards of Canada album before GTA VI! Or at least that’s what it seems. Following a cryptic add campaign featuring mysterious VHS tapes being mailed to fans, and eerie posters appearing all over the world, fans have been doing detective work trying to decipher any hidden messages and some have even speculated that this might be a hoax, but just this morning BoC made it official on social media, posting a video titled Tape 05. This video features what appears to be new BoC music. Nothing else has been unveiled from the band or their label “Warp Records,” but if we’re getting a new album all I have to say is HOLY SHIT IT’S FINALLY HAPPENING! 

Nine Inch Nails and Boys Noize Detail New “Nine Inch Noize” Album

Following their highly successful tour and incredible Coachella set, “Nine Inch Nails” and “Boys Noize” are set to release their collaborative album Nine Inch Noize this Friday. The album will feature re-imagined Nine Inch Nails tracks, as well as a reworked version of How to Destroy Angels’ “Parasite,” and a cover of Soft Cell’s “Memorabilia.” According to Trent Reznor, the album was recorded “all over the place, some of it’s live, some in studios, hotels, planes, etc.” Check out the tracklist below:

Tracklist:

01. Intro (Nine Inch Noize Version)

02. Vessel (Nine Inch Noize Version)

03. She’s Gone Away (Nine Inch Noize Version)

04. Heresy (Nine Inch Noize Version)

05. Parasite (Nine Inch Noize Version)

06. Copy Of A (Nine Inch Noize Version)

07. Me I’m Not (Nine Inch Noize Version)

08. Closer (Nine Inch Noize Version)

09. The Warning (Nine Inch Noize Version)

10. Memorabilia (Nine Inch Noize Version)

11. Came Back Haunted (Nine Inch Noize Version)

12. As Alive as You Need Me to Be (Nine Inch Noize Version)

Pre-save here:https://presave.umusic.com/nineinchnoize-presave

Album Review: PVA – More Like This

Artist: PVA

Album: More Like This

Genre: Trip Hop/EBM/Synthpop

Label: It’s All For Fun

Rating: 7/10

Four years after their debut album BLUSH, London trio and Windmill scene affiliates “PVA” have returned with their second full-length album No More Like This, and it’s a more developed version of the Industrial-tinged post-club sound featured on BLUSH with instrumentation more focused on making you feel than making you dance. The Downtempo and Trip Hop elements complimented by lead singer Ella Harris’ deadpan almost spoken word vocals bring to mind a band like Massive Attack. This album is rhythmic, atmospheric and somber in tone with a heavy emphasis on either consistent instrumental repetition or instrumentation that builds and builds but maintains a steady flow instead of bursting out into an all out dance party. However, with how brilliantly produced these tracks are, I feel like much of this album would be complimented more if the vocals didn’t always sound deadpan and carried the same weight and emotion as the instrumentation. The talk singing makes sense during the album’s more anti-melodic moments, but there’s some tracks with dreamy synth lines that just feel a bit underwhelming when contrasted with Harris’ subdued vocals. The track “Anger Song” finds Harris giving us a more passionate and luscious vocal delivery which at times frustrates me that the album doesn’t feature more of that, but even with that critique the album is still an enjoyable listen, and it’s interesting hearing the direction all the Windmill alumni are going in. 

Written By: Steven Sandoval

Kylie Minogue and Jessie Ware Share New Single “Kiss of Life”

Following Kylie Minogue’s 2020 album Disco, as well as the 20th anniversary of her classic album Fever, and following Jessie Ware’s superb 2020 album What’s Your Pleasure? which recently received a deluxe release consisting of bonus bangers, the two queens of Disco have teamed up to create another dance floor -ready track that solidifies their status as modern Disco’s torch carriers. This is a collab we knew we needed, and seeing this come to fruition is a gift. The track is titled “Kiss of Life,” and you can listen to it below:

Maryze Shares New Music Video for “Squelettes” Featuring Backxwash

It’s Halloween season, which means you can count on Montreal-based Alt-Pop artist Maryze to bless us with something that reflects the delightfully dark and sinister nature of the beloved holiday. This year she has shared a brand new music video for her single “Squelettes” which features an infectiously confrontational verse from Backxwash, who has had a successful year following the release of her masterpiece I Lie Here Buried with My Rings and My Dresses. “Squelettes” was released last year, but still holds up as powerhouse of a track, and now we have a beautifully haunting music video rich in Gothic imagery to accompany it thanks to multidisciplinary artist Méchant Vaporwave. You can watch the music video for “Squelettes” below: