Electronica
Top 100 Chart placements for Electronica
Updated 6 hours ago
Align Left/Right
Align Top/Down
-
#14
Feat. New Releases in Electronica
SAD
This is an album travelling through seasons in your mind. Its as close to my final form as Ive known, Ikonika aka Sara Chen says, describing in evolutionary Pokémon terms, their Sad and Sexy new album. With SAD, they take the reins as producer, songwriter, and singer for the first time, SAD marks a distinctive development from their past as a producer. Its Ikonika, transformed, intimate and of course beautifully made – with their sultry, unvarnished vocals directing the journey across an arc of ten tracks. An album for pop lovers and club music lovers alike. At a crossroads a few years back, both personally as a new parent, and with their future in music, Ikonika stepped into the hot light of the frontstage, picking up the mic to start singing and performing their own lyrics. Simultaneously, they reckoned with being queer and trans in public life and its reverberations: finding my voice without fear speaking first as Sara shares. The goal became to be undeniable, celebrated and rewarded. The albums airy production reflects the music they DJ and enjoy; theres credit to a plethora of African electronic music on the album. Sara is half Egyptian and tracks such as WHATCHUREALLYWANT feature rhythms that their long ago dad taught them on the Egyptian tabla, carried over and spoken into other hand drums such as the djembe. A log drum preset on a DX7 cartridge used for their early records, became a prelude to their later interest in Amapiano culminating in an early 80s-ish wedding music sound – fiddly solos, overlays and trills. Through their close-knit circle of dancing queers too, Ikonika became inspired by more music of South Africa; Gqom and Bacardi. Ikonika got pen and paper out with interdisciplinary artist and writer Tice Cin to add further nuance to the narrative world of SAD. Cin finishes SAD on Make It Better, barring in her North London vernacular, as the only vocal guest on the album. Ikonika was encouraged by Tice to see SAD from a writers point of view, taking the listener into SAD WORLD. Ikonika weaves a storyline into the project, that begins on a sloshing train and ends on a stolen Lime bike. Whatsmore In light of a recent diagnosis of Autism (which Sara first clocked through videos on socials), every lyric is towards activating an understanding of self. Living post-diagnosis has offered the direct clarity that so many live without and has shifted Saras life. Enjoy this new adventure into Ikonikas world, more intimate than ever before.
-
#21
Feat. New Releases in Electronica
The Wildcat EP
This EP features four tracks that make up part of Si Beggs blistering score for new Kate Beckinsale feature WILDCAT. Led by the Underworld star and Mortal Kombats Lewis Tan, Wildcat also features Charles Dance, Tom Bennett and Alice Krige. Directed by James Nunn (One Shot) it delivers explosive shoot-outs and blistering martial arts set. pieces as Beckinsale brings her former team of elite special agents together and asks them to break bad for the sake of her child.
-
#25
Feat. New Releases in Electronica
Rain & Cymbals
12th Isle founding member Stewart Brown and London-based percussionist Pike present six tracks born out of preparations for live shows at Cafe Oto and The Three Wheel Drive festival, the culmination of collaborating on No Direction from the first Material Things album. Inspired by various traditions of experimentalism, the pair touch upon reference points such as Eliane Radigue and Nurse With Wounds Soliloquy for Lilith (on Coastal Town), as well as the wider canon of motorik, dub and drone practitioners over the past 60 years. Concerned with the interplay between early exports of free jazz and more modern electronics, Rain & Cymbals builds on the projects first outing with a more refined approach to production and a clearer modus operandi, combining ambient pads with additional synth work by Dan Macintyre, multifaceted percussion work and heads-down, emotive minimalism.
-
#26
Feat. New Releases in Electronica
Sleep Pressure
Reconnecting across continents, Iti and Axon Growth Factor trace their roots back to the hazy inner-city suburbs of Meanjin/Brisbane, where a shared love of hardware led to evening jam sessions after work. Now split between London and Naarm/Melbourne, their new EP rekindles that same spark, capturing the immediacy and warmth of their machine-driven approach. Produced and mixed by Itrat Memon (Iti) and Bevan Dias (Axon Growth Factor). Artwork photography by Phresh. Mastering by Chris McCormack of Blacklisted Mastering. Pocketmoth 2025.
-
#29
Feat. New Releases in Electronica
Sonic Hypnosis
Danalogue, founding member and producer of The Comet is Coming and Soccer96 releases his debut solo track Sonic Hypnosis, a dance floor dreamscape driven by a filthy acid bass line combined with ethereal psychedelic synths, which puts forward a mantra of a positive state change, whilst musically arriving at a place of vulnerability, love and healing. Underground London producer Thoma Bulwer adds a Bonanza stripped back club remix of Sonic Hypnosis with a 909 lead groove, tinges of garage and electro all driven by 90s style breaks and bass. Written in order to halt a personal feeling of a lack agency amidst global tumult, Sonic Hypnosis is a call to action. The crescendo is built around a sample Danalogue took from a voice message from a singer friend Plumm. The refrain feel me as I am, hold me as I am, love me as I am sums up the moment of arrival, the moment when the sonic hypnosis has been effective in restoring hope, energy and belief that we can make a positive difference to the people around us.
-
#33
Feat. New Releases in Electronica
In Constant Evolution
Madd Rods third studio album is a celebration of rawness and creative autonomy. Following Sad Behaviour on Discotexas, which laid the foundations for his stylistic shift, In Constant Evolution dives deeper into that transformation. Thirteen tracks move through EBM, Electro, Krautrock, and Indie Dance with a deliberate imperfection: proof that emotion, not precision, is what endures.
-
#35
Feat. New Releases in Electronica
Xylophonica
nagoyaka na kaze / 和やかな風 (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan - co-curated by Nagoya artist abentis for Facta & K-LONEs Wisdom Teeth imprint. The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the countrys most populous and industrial cities, but one all too often overlooked in terms of its cultural significance. Curated in close collaboration with local scene organiser Yuya Abe - aka abentis - the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities. In Nagoya, theres a strong culture of supporting artists. Even if you pursue music in your own way, as long as its good, youre encouraged to keep doing what you want, explains abentis. Within that environment, my generation has been able to freely bring in elements we like from all kinds of genres, combine them in our own way, and express ourselves individually. If you go to Tokyo or Osaka, that kind of freedom isnt something you can take for granted. Spiritually, Nagoya fits the mould of cultural hotbeds like Bristol, Detroit or Melbourne, showing that some of the most innovative creative communities form away from the glare of the capital cities. Like Detroit, Nagoya is principally known for being a major auto manufacturing hub, famous for being the home of Toyota Motors - but behind the scenes, it is quietly harbouring one of Japans most vibrant and forward-thinking electronic music scenes. In a good way, Nagoya is a bit removed from the cutting edge, so you find people making all kinds of music, explains Karnage. If youre making music, you feel like part of the crew, and people of different ages mix together without much hierarchy. The citys music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines. The artists featured come from a diverse set of backgrounds, ranging from hip-hop to noise music, but have found a common collective identity in their omnivorous approach to genre. As such, the record moves fluidly between shimmering ambient and new age (Am Shhara, DHYAN, daiki hayakawa), psychedelic minimal house (Methodd, abentis), abstract, low-slung downtempo (baptisma, Nasty Soupman) and spaceage steppas (Karnage). Id say the way ambient, new age and that kind of sound design are blending nicely with dance music feels somewhat new, says baptisma, the crews eldest member and de-facto scene leader. Responsible for bringing artists like Basic Channel, Mala and Jan Jelinek to the city, baptisma has been crucial in establishing underground electronic music in Nagoya since the 90s, and now helps cultivate the next generation of local talent. Artists and DJs are seamlessly mixing ambient and new age with techno, house and bass music. I think thats a really interesting development. nagoyaka na kaze has its roots in a one-off event held in October 2024 as part of the 10 Years of Wisdom Teeth Japan tour. Curated by abentis in collaboration with Facta & K-LONE, the showcase featured live sets from eight artists based in and around Nagoya at one of the citys key dance music hubs, Club JBs. Each of the artists features again here, on record, presenting an original commission produced especially for the project. The records art direction was led by Yudai Osawa - in-house designer for Kankyō Records, the much-loved Tokyo record shop run by H. Takahashi - and features original photos by Hayato Watanabe.
-
#37
Feat. New Releases in Electronica
Letters from the Air / Lightwork Above
Vakula invites us on a sonic journey with his latest album titled Cloud Bloom. Composed of four tracks, this album explores the depths of deep and dub techno, creating atmospheres that envelop the listener in a unique experience. Most of the instruments are organic, complemented by analog synthesizers, giving it a warm and authentic touch. Each track is an exploration of sonic textures that evoke dreamlike landscapes and moments of introspection. Its an ideal offering for those who appreciate immersive sounds and a hypnotic vibe.
-
#38
Feat. New Releases in Electronica
Edo
Quadratschulz returns to Clone / Dub Recordings with a sonic ode to Tokyosix beautifully crafted tracks inspired by the neon-lit nights and electric pulse of the city. Drawing from the spirit of Japanese electronics, arcade culture, and city pop nostalgia, he blends crisp rhythms with emotive melodies and playful synth work. Its a journey through dreamy downtowns and rain-soaked alleyways, full of warmth, precision, and imagination. Of course, Japanese electronics play a key roleled by the unmistakable playful sound of the Roland TB-303 weaving through the tracks like a main character. Braindance for the dancefloorQuadratschulz in top form.
-
#44
Feat. New Releases in Electronica
In Between (Deluxe Edition)
2025-11-21 Sonar Kollektiv
Jazzanova, Paul Kleber, Victor Feldman, Clara Hill, Capitol A, Hajime Yoshizawa, Valerie Etienne, Rob Gallagher, Ursula Rucker, Hawkeye Phanatic, Vikter Duplaix, Doug Hammond, Desney Bailey, Heen Maartens, Wayne Snow, Satin Jackets
-
#47
Feat. New Releases in Electronica
cycle0.5 - crp
The Cycle Bender series reaches its fifth edition on Optic Portal, marking the first appearance of crp, a clandestine Swiss production collective. Across six tracks, they navigate the full spectrum of deep electronics; driving, and unpredictable.
-
#49
Feat. New Releases in Electronica
Implosion
When Chuck D proclaimed Bass, how low can you go? on Public Enemys anthemic Bring the Noise, maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of Implosion. Implosion is a crushing split album, appropriately released on The Bugs own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, its one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction. As expected from a tag team featuring British soundlab explorer and London Zoo composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germanys new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound raw (Fiedler) and brutally minimal (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge. From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artists own contributions. From the melancholia and transcendence of Alien Virus (West Indian Centre, Leeds), to the duality of ascension and descension on Hope, or the Sunn 0))) in dub, visceral drone of Dread (The End, London), to the tripped-out repetitions of Midnight, which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture. This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedlers Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design. Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dubs stark rhythm attack, isolationist ambiences eerie drift, dub technos floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orbs fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sounds Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwoods productions and Rhythm & Sounds enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences. Shadowy and elusive, theres a mysteriousness at this records core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single Imploded Versions are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers. Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. Its low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.
