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How to promote experimental music — a guide.

Where to start when promoting experimental music

Experimental music is often misunderstood by many people.

A large number of labels, promoters, and journalists think that experimental music is only the music of the most recent trends. Their idea of what experimental music should be is usually fairly shallow — they don’t really get the aesthetic, nor the music itself.

On the other side, experimental music fans don’t really understand what to expect from their favorite bands and they don’t understand the way an average song is produced.

So, how do you overcome these two challenges in order to promote your music?

The answer: You have to do it yourself.

Time, talent, and experience

Unless your music has become critically popular, it will take a significant amount of time, talent, and experience to achieve substantial awareness. More effort will be needed to develop a solid following.

However, you can always start now and begin creating a buzz around your work

Market yourself

The amount of time you’ll need for promoting your music is up to you — but the more time you put in the better.

There is not just one avenue for promotion, there are many steps one must take as an artist.

First things first: establish an online presence.

If you don't have social media, a website and a place where people can hear your music online ( Soundcloud, Spotify ) you'll need to get that in check.

Create the buzz

In the age of web 2.0, people now have access to your music or your album online, whether it’s on iTunes, Spotify, and others.

When they discover your music, you want to give people the biggest opportunity to share it. So how do we do that?

There are different places to get your music online and use social media to spread your music. Here are some examples:

You can share links on Facebook, tell your audience that you have a new album, and ask them to share it with their friends. You can also like pages that play your music.

You can post your music in experimental music groups and see how people interact with it!

SoundCloud is one of the best platforms for independent musicians because you can upload your music, as well as ask for fans to rate your music.

You can comment, like and follow other peoples work which will increase the odds that they are following and liking your work!

Twitter isn't normally thought of as a great place for musicians however if you already have a following on here you should definitely take advantage of it. You can tweet out links to articles you've been featured in.

Tumblr is another good place for independent musicians. You can share links on Tumblr, ask your audience to share your music on Tumblr and get fans to follow you. It also has quite a niche audience, so if people really like you there, chances are they'll be your fan forever .

High-quality photos and artwork surrounding your music

Is your band dark, edgy and mysterious? Your artwork and photos better scream that aesthetic as well as the way you play your social media game.

Reach out to artists online whose visual art you think really describes your music and ask them if you can collaborate with them. This way you are not only promoting yourself and your music , you are helping others get exposure for their art.

In the end, developing a community around your music is the best way to see it succeed.

Reach out to bloggers

You can promote your music by approaching your favorite bloggers and musicians in your area. Or, if you’re lucky enough to be in a city where there’s a big experimental music scene, you could aim for that.

If you have a budget you may want to consider PR (public relations) , which is really just the most effective way to advertise. PR is much better than traditional advertising because you are not promoting yourself, you are finding others who will write about you and promote you.

And when you work with a good PR agency, they can help work with the third party that is promoting you to ensure you get a quality piece of press.

Our company helps pair artists with music blogs with 10,000 - 100,000 views per month  and works with writers to help craft sound and solid narratives to tell your story right. These articles (not to mention the SEO benefits from them!) are a surefire way to get exposure.

Other creative methods

Start a workshop.

If you are a freakin' genius at playing an analog synthesizer while looping a sitar triggering reverse-samples of jungle creatures, then show it off!

You can offer a workshop where you can show other budding electronic musicians how to loop wildlife sounds while playing the sitar with your toes.

These workshops could garner you respect within your local community and make all the people who recognize your talent follow your work and want to spread the word about you.

Live stream

Make a video and stream it on YouTube about the process of making a song. Many fans will be curious to know HOW you are making your music. It will satisfy the curiosity of many and may be even more popular than the music itself.

Organize a free concert

Playing live is always the key to people's hearts. If you blow someone away playing live, chances are you'll have their respect for life. One way to do this is to organize a free concert for all to come and see (and make sure to film it so you can upload it later).

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25 Best Experimental Music Blogs and Websites in 2024

Experimental music blogs.

Here are 25 Best Experimental Music Blogs you should follow in 2024

1. A Closer Listen

2. Faeton Music » Experimental Electronic

3. Song Bar Blog » Experimental

4. Electronica

5. ATTN:Magazine

6. New Music Buff » Experimental Music

7. Dungeon Synth & Dark Ambient Reviews » Experimental

8. The FADER » Experimental

9. EARMILK » Experimental

10. Indie Shuffle » Experimental

11. Stereo Stickman » Experimental

12. Jazz Right Now

13. Noise Not Music

14. fromheretillnow

15. Onyx Music Reviews » Experimental

16. mySoundposter.blog » Experimental

17. Louder Than War » Experimental Music News

18. Dereks Music Blog » Experimental

19. Record Crates United » Experimental Music

20. Native Instruments Blog » Experimental

21. Obscure Sound » Experimental

22. Independent Music Promotions » Experimental

23. Jeff Bagato » Experimental Music

• Experimental Music Bloggers

• A Closer Listen
• Faeton Music » Experimental Electronic
• Song Bar Blog » Experimental
• Electronica
• ATTN:Magazine
• New Music Buff » Experimental Music
• Dungeon Synth & Dark Ambient Reviews » Experimental
• The FADER » Experimental
• EARMILK » Experimental
• Indie Shuffle » Experimental
• Stereo Stickman » Experimental
• Jazz Right Now
• Noise Not Music
• fromheretillnow
• Onyx Music Reviews » Experimental
• mySoundposter.blog » Experimental
• Louder Than War » Experimental Music News
• Dereks Music Blog » Experimental
• Record Crates United » Experimental Music
• Native Instruments Blog » Experimental
• Obscure Sound » Experimental
• Independent Music Promotions » Experimental
• Jeff Bagato » Experimental Music

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Sound Art + Experimental Music

Bemis Center for Contemporary Arts launched its Sound Art + Experimental Music Program in May 2019 with generous support from The Andrew W. Mellon Foundation. Embedded within Bemis Center’s renowned international Residency Program, this program offers a unique experience for artists working in sound, composition, voice, and experimental music.

The Bemis residency is a process-based experience–residents have the ability to research, experiment, and explore free from expectations. Bemis residents enjoy generous sized, private live/work studios and have 24-hour access to extensive installation and production spaces; the Okada Sculpture & Ceramics Facility, a 9,000 square foot industrial workshop used for large-scale sculpture fabrication; and a Sound Studio for rehearsing and recording.

Professional collaborations and personal friendships are often formed among the multidisciplinary mix of residents from around the world. Presentations and open studios among the residents are optional and spontaneous, providing opportunities to share work with fellow cohort members. Bemis also offers opportunities to meet local and regional artists, arts professionals, and others that may specifically help advance a resident’s practice.

Selected US-based artists-in-residence receive a $2,000 USD monthly stipend, a $750 USD travel stipend, a $7,000 USD materials budget, and a $1,000 USD shipping budget to cover the transportation of items or equipment to and from the residency.

Bemis Center is a host organization through the International Art & Artists Exchange program. Selected international artists-in-residence are encouraged to apply for a J-1 short-term scholar visa through IA&A to be eligible to receive monthly stipend payments. If a J-1 visa is not acquired by an international artist-in-residence, that artist will be subject to payment restrictions specific to their particular visa. B2 visas (touring/visiting) limit payments to international artists-in-residence as reimbursement of qualified expenses only, such as airfare, ground transportation, and meals.

In addition to financial support, residents receive technical and administrative support from a dedicated team of Bemis staff members.

Facilities + Resources

Live / work studios + amenities.

Bemis Center for Contemporary Arts has twelve live/work studios on two floors in which the artists-in-residence reside. Spaces range from 820–2,200 square feet. Each studio has its own kitchen and private bathroom and is equipped with basic items (linens, bedding, dishes, a basic set of tools, etc.) and furniture (bed, table, chairs, desk). Residents have access to a variety of additional furniture that can be placed in the studio. Studios are also equipped with a paint sink, plywood-backed sheetrocked walls, accessible windows, concrete floors, and 12’ ceilings. Both live/work studio floors have complimentary laundry facilities, utilities are paid for by Bemis, and each studio has wifi internet.

Project + Installation Spaces

Bemis artists-in-residence have 24-hour access to project and installation space on Bemis Center’s 3rd (6,500 square feet) and 5th (7,550 square feet) floors. These floors offer an abundance of natural light and both finished and unfinished spaces for building, documenting, rehearsing, collaborating, and experimenting with their work.

Okada Sculpture & Ceramics Facility

Bemis artists-in-residence have 24-hour access to the Okada Sculpture & Ceramics Facility, the organization’s stand-alone fabrication space located across the street from its main building. The 9,000 square ft historic bow truss building was renovated in 2011 and includes a woodworking area, metal shop, ceramics studio, and a vast amount of space for building and documenting large-scale work.

Sound Studio

Located in Bemis Center’s lower level, the Sound Studio is a 1,000 square foot shared workspace for artists-in-residence. The workspace includes a Studio Room for mixing and recording and a Live Room where artists can rehearse, experiment, and mic up instruments to be tracked into the Studio Room. The Live Room also serves as a rehearsal space where artists can set up multiple instruments to experiment or practice. The Sound Studio is equipped with a variety of instruments, amps, microphones, and digital hardware and software for recording and mixing.

Clare Haas Howard Research Library

The Clare Haas Howard Research Library is located on Bemis Center’s main floor within the administrative offices and contains more than 3,000 art-related books, exhibition catalogues, artist monographs, journals, and magazines. Current artists-in-residence are permitted to check out books during administrative hours. The library is named in honor of Clare Haas Howard, an artist and patron of the arts, for her strong spirit and many contributions to the Omaha creative community.

Bemis Center’s Internship Program offers students and recent graduates who are interested in working as a professional artist or within the arts or nonprofit sector the opportunity to work directly with a Bemis resident. Bemis recruits and matches interns with residents based on their mutual skills and goals. Interns assist with projects such as studio production and fabrication, research, documentation, and sourcing local resources while receiving mentorship from a Bemis resident.

Community Partnerships

Partnerships with local organizations such as The Union for Contemporary Art, Hot Shops, and Metro Community College Prototype Design Lab offer Bemis residents access to additional tools, equipment, technical support, and opportunities to create networks and collaborations.

Public Presentation

All residents are invited to participate in at least one opportunity to share their work with fellow artists-in-residence, organizational partners, and the public.

LOW END is Bemis Center’s music venue and an integral part of the Sound Art + Experimental Music Program. The unique artist-designed space located in Bemis’s lower level includes custom seating, theatrical lighting, an anamorphic perspective stage, and industrial-grade audio equipment. LOW END features free live shows by local, national, and international sound artists, composers, and experimental musicians. These performances aim to not only build new audiences and a greater appreciation for nontraditional forms of music but also to liberate artists to take risks and present truly avant-garde work.

Graduate students participating in the University of Nebraska-Lincoln’s design-build program, FACT (Fabrication and Construction Team), worked in close collaboration with Jeff Day, UNL professor and architect with Actual Architecture, artist and carpenter Sean Ward, musicians, sound engineers, mechanical experts, and Bemis staff to envision the new facilities for Bemis’s Sound Art + Experimental Music Program. Under the guidance of Day, the students designed and helped build the Program’s custom facilities including a recording and rehearsal studio and music venue, LOW END. Forthcoming amenities as part of this program include a green room for performers, a custom bar, and pre-event lounge.

LOW END Design

LOW END Performance Space Rendering by FACT

Architectural rendering of the program’s dedicated performance space, LOW END, by FACT. The space accommodates approximately 250 guests for free performances by leading national and international sound artists, musicians, composers, and vocalists. Pictured here, the venue will offer a unique artist-designed space with custom seating, theatrical lighting, and an anamorphic perspective stage, along with professional-level sound equipment.

LOW END Axonometric Rendering by FACT. In this axonometric view of the program’s facilities, the bar is located underneath a light well in the pre-event atrium. Across from the bar, a pink room will double as an alternative lounge with stylish seating.

LOW END Rehearsal Room Rendering by FACT

LOW END Green Room Rendering by FACT

LOW END Atrium Rendering by FACT

ELIGIBILITY

Residency opportunities are open to national and international artists 21+ years of age showing a strong professional working history. Applicants working in, but not limited to, sound art, composition, experimental music, and a variety of other disciplines where sound is the primary medium will be considered. Bemis residency alumni are allowed to re-apply after a five-year hiatus from the program. Alumni seeking a residency must submit a complete application including recent work samples and current resume. Preference may be given to applicants who have not previously attended. Learn more about our Alumni Program . Artists enrolled in an academic program during the time of the residency opportunity are not eligible to apply. Small collaborative groups are eligible to apply. Please note, if selected, Bemis Center is only able to accommodate two members of a collaborative group to attend the residency and live on-site. Awarded artists in a collaborative will each receive a monthly stipend and will share the shipping and materials budget. Bemis welcomes international artists to apply. Working knowledge of English is helpful as Bemis is unable to provide an interpreter.

DIVERSITY, EQUITY, AND INCLUSION

Bemis Center for Contemporary Arts is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability. For special accommodations or questions about accessibility, contact 402.341.7130 or [email protected]

ACCESSIBILITY

The Bemis Center campus includes two buildings that are ADA compliant with barrier-free access. The main building spans six levels and houses twelve, private live/work studios between the second and third floors, each ranging in size and configuration. There are five live/work studios on the third floor with roll-in shower stalls. Communal installation workspaces are barrier-free. The private residency entrance to the first floor consists of six steps. There are seven stairs and an ADA-approved ramp to the main entrance, which also accesses the first floor. A passenger elevator operates between the first floor and fifth floor. The Okada Sculpture & Ceramics Facility is a single-story, ground-level building located directly across the street from the main building. A cobblestone and brick city street separates the two facilities and conjoins the parking lot, which includes accessible parking spaces at the front entrance for visitors and residents. Okada includes two gender-neutral and accessible bathrooms with handrails. Workspaces can be arranged and organized to accommodate a variety of practices and needs. The lower level, which includes the Sound Studio and LOW END, can be accessed from the east-facing public entrance by 18 steps, the first floor by 18 stairs, or via freight elevator. Located inside the Live Room, the Recording Studio is accessible through a double-door entryway. The doorway dimensions are 83" wide x 79.25" tall and it has an elevated, sloping threshold that is 2" tall. The Live Room is barrier-free. In striving to create accessibility for all, Bemis welcomes inquiries from applicants with specific questions to ensure we are prepared to meet the needs of any resident. Please direct residency accessibility questions to 402.341.7130 or [email protected] .

LEARN MORE ABOUT BEMIS GALLERY AND LOW END ACCESSIBILITY

OPPORTUNITIES AND EXPECTATIONS

Residencies are independent, self-directed, and process-based: there are no expectations placed on artists to create or perform. Residents are, however, invited to participate in at least one opportunity to engage our community, such as our public Open House / Open Studios. Selected artists must attend a minimum of eight consecutive weeks within a residency session to be accepted. Deferring or rescheduling a residency is not permitted at this time. Late arrivals, early departures, or extended absences may result in prorated stipends.

A $40 USD non-refundable application fee is due at the time of submitting an application through SlideRoom paid via credit card. To pay via PayPal, contact Bemis Center at 402.341.7130 or [email protected] . Submission of completed applications is only accepted online through bemis.slideroom.com . Fees related to visa processes or passport acquisition are the responsibility of the awarded artist.

APPLICATION REVIEW PROCESS

SlideRoom will confirm receipt of your submitted application. Residency applications are reviewed by a rotating panel of artists and arts professionals, such as curators, academics, and/or critics. The application review process consists of an online review followed by an on-site panel meeting. The review process takes 12–14 weeks from the application deadline. Notifications to all applicants will be sent via email after the selection panel has made its final decision. If an artist is selected for more than one session, the artist will select one session to attend.

Frequently Asked Questions

Who is eligible to apply.

Residency opportunities are open to national and international artists 21+ years of age showing a strong professional working history. Applicants working in, but not limited to, sound art, composition, experimental music, and a variety of other disciplines where sound is the primary medium will be considered. Bemis residency alumni are allowed to re-apply after a five-year hiatus from the program. Alumni seeking a residency must submit a complete application including recent work samples and current resume. Preference may be given to applicants who have not previously attended. Learn more about our Alumni Program. Artists enrolled in an academic program during the time of the residency opportunity are not eligible to apply. Small collaborative groups are eligible to apply. Please note, if selected, Bemis Center is only able to accommodate two members of a collaborative group to attend the residency and live on-site. Awarded artists in a collaborative will each receive a monthly stipend and will share the shipping and materials budget. Bemis welcomes international artists to apply. Working knowledge of English is helpful as Bemis is unable to provide an interpreter.

I’m currently enrolled in an academic program, can I still attend the residency during semesters off?

The residency program encourages a focused time to experiment, explore, and expand your practice and to be immersed with the other artists in residence. Being committed to other outside obligations often make for difficult distractions and time well-balanced. Artists applying to Bemis Center should not be enrolled in an academic program or currently teaching, adjunct or otherwise, during the residency timeline.

What is the stipend used for?

Selected US-based artists-in-residence receive a $2,000 USD monthly stipend, a $750 USD travel stipend, a $7,000 USD materials budget, and a $1,000 USD shipping budget to cover the transportation of items or equipment to and from the residency. Due to the limitations of B2 visas (touring/visiting), international artists-in-residence are eligible to receive reimbursement of qualified expenses, such as airfare, ground transportation, and meals.

For international artists-in-residence, if a J-1 visa is not acquired, that artist will be subject to payment restrictions specific to their particular visa. B2 visas (touring/visiting) limit payments to international artists-in-residence as reimbursement of qualified expenses only, such as airfare, ground transportation, and meals.

How do international artists-in-residence get paid?

What items are provided in my live/work studio.

Each studio is equipped with its own private kitchen and bathroom. Basic kitchen utensils, dishes, cutlery, stove/oven, microwave, refrigerator, coffeemaker, and toaster are provided. Extra furniture is available for artists to arrange and organize their studios by personal preference. A set of bath towels, kitchen linens, and bedding are also provided, as well as on-site laundry facilities. Studios are also equipped with a paint sink, plywood-backed sheetrock walls, accessible windows, concrete floors, and 12’ ceilings. WiFi is available throughout the campus and there are two communal iMac computers and printers. There are several communal workspaces including installation rooms; a sculpture and ceramics facility complete with a woodshop, metal shop, and flex workspace; and a sound studio with recording equipment. Please contact Rachel Adams, Chief Curator and Director of Programs, at 402.341.7130 x 21 or [email protected] . if you have specific questions regarding equipment or software.

Is smoking allowed in my personal studio?

Bemis Center is a completely non-smoking campus.

May I bring my pets?

Bemis Center does not allow pets to live on-site. Service dogs are permitted to stay with an artist with appropriate documentation.

Can my family stay with me?

Visitors or family members may stay on-site for short term visits with an artist with prior approval from the Residency Program Manager. Bemis Center cannot accommodate spouses, children, or guests for an extended stay.

If I am selected for the residency invitation and am unable to attend, may I defer?

Selected artists must attend a minimum of eight consecutive weeks within a residency session to be accepted. Deferring or rescheduling a residency is not permitted at this time. Late arrivals, early departures, or extended absences may result in prorated stipends.

What recreational or extracurricular activities are available?

Omaha is a community that combines urban and rural lifestyles with a population of more than 400,000. Bemis Center is located in the heart of the historic Old Market, Omaha's arts and culture district, which offers shops, restaurants, pubs, bookstores, a public library, hardware store, and post office all within walking distance. Omaha Eppley Airport is located less than five miles from Bemis Center. If artists are arriving by car, Bemis provides on-site parking for the duration of the residency located directly across the street from Bemis. There are several parks, trails, waterways, and natural resources located in and around the city. Bemis offers communal bikes to use to explore highlights such as the Bob Kerrey Pedestrian Bridge, which crosses the Missouri River into neighboring Council Bluffs, Iowa. Lauritzen Gardens, Fontenelle Forest, and Omaha’s Henry Doorly Zoo are also national favorites. A vehicle for local use is available to resident artists. As Bemis is a self-directed residency, it does not direct or structure social activities for artists. Omaha is home to creative assets including El Museo Latino, Film Streams, Joslyn Art Museum, KANEKO, Omaha Performing Arts, Omaha Symphony, Opera Omaha, and The Union for Contemporary Art. Bemis Center has several local partnerships with organizations that offer resources and benefits to artists-in-residence.

I don't see my question, how do I get more information?

For more information, contact Bemis Center at [email protected] or 402.341.7130

LOW END performances and Bemis Center's Sound Art + Experimental Music Program are made possible by:

LOW END performances are also supported, in part, by:

Additional support provided by New Music USA’s New Music Organizational Development Fund.

The LOW END venue is made possible, in part, by:

Special thanks to our partners:

GET MORE ART IN YOUR INBOX

724 S. 12th Street Omaha, NE 68102 402.341.7130 [email protected]

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Best Music of 2022

The 11 best experimental albums of 2022.

OHYUNG's imagine naked! is one of NPR Music's top 11 experimental music albums of 2022. Photo Illustration: Jackie Lay/NPR/Jess X. Snow/Courtesy of the artist hide caption

OHYUNG's imagine naked! is one of NPR Music's top 11 experimental music albums of 2022.

The Best Music of 2022

Music not only has the power to transport but transform. "Experimental" music, a nebulous grouping of difficult-to-classify sounds, provides us lovely, sometimes challenging fractal windows to jump through — to escape, commune, blister and rattle, to try and express our edges and witness the unknown. In 2022, for us, this encompassed microtonal rock jams, tender ambient, woozy nostalgia, Egyptian ghosts and an epic synth symphony.

Below, find an unranked list of the year's most exploratory music, along with some personal favorites, by NPR Music staff and contributors.

Lucrecia Dalt, ¡Ay!

¡Ay! is Lucrecia Dalt 's sci-fi missive from space to Earth; or vice versa. The Colombian experimentalist tells an extraterrestrial's story through bolero, salsa, mambo, son and jazz submerged in a colloquial, nostalgic haze. The alien Preta's interpretations of home, love and the limits of having a body resonate exponentially against a textured, acoustic backdrop, a product of human imagination seeking to operate outside of its chains of time, form and grief. Dalt's world-building in sound and theme are jarring in its invention, yet altogether familiar. —Stefanie Fernández

OHYUNG, imagine naked!

Whenever I needed a pacifier this year — in need of something that would bring me down not just to Earth but safely back to the very apartment room I was likely sitting in, imagine naked! was there. It makes sense: Robert Ouyang Rusli, who records tender ambient like this under the name OHYUNG , based its song titles on lines from a poem by t. tran le, titled "Vegetalscape," that summons deep magic from scenes of the everyday. That Rusli also composes for film makes perfect sense; mine might be titled Post-Pandemic Basement Boy. —Andrew Flanagan

Caterina Barbieri, Spirit Exit

The Italian electronic composer Caterina Barbieri thinks deeply about the spiritual impact of her music on the bodies and minds of others. Her intense album Spirit Exit was created in isolation during Milan's strict pandemic lockdown, inspired by hermetic visionaries including the mystic nun St. Teresa of Ávila and Emily Dickinson. Barbieri's layered tracks build and explode massively into moments of bliss, as if to musically recreate Ávila's ecstatic vision of being stabbed in the heart by an angel. —Hazel Cills

Nancy Mounir, Nozhet El Nofous

Nancy Mounir's Nozhet El Nofous is a conversation with the past. The Cairo-based composer and instrumentalist weaves aching arrangements around crackling recordings of 1920s Egyptian singers. In translations provided, we grasp how Mounir's own violin, bass and piano dance seamlessly with beautiful Arabic poetry of love, torment and darkness — characters who express longing and sorrow with the same nostalgic verve of what Brazilians call saudade . The ghostly effect, however, isn't haunting, but an empathetic hand across time. — Lars Gotrich

Evgueni Galperine, Theory of Becoming

Describing his music as an "augmented reality of acoustic instruments," the Paris-based composer masterfully displays his own personal orchestra of sounds derived from, but unheard in, the real world. Trumpet fanfares get twisted, strings shed a kind of rusty patina and who knows what produces that sublime subterranean bellowing. Each of Evgueni Galperine 's 10 pieces unspool like soundtracks to fevered dreams. In the final vignette, "Loplop im Wald," we're captive deep in the forests of surrealist painter Max Ernst, complete with ominous drum beats, woozy strings and a disturbing whistler. —Tom Huizenga

Gavilán Rayna Russom, Trans Feminist Symphonic Music

At 1 hour, 11 minutes, Trans Feminist Symphonic Music is maybe the only project on our list that, though wordless, successfully expresses as much information as a novella. The piece's first movement, "Elegy," folds and bounces within itself, bringing to mind, in both its aesthetic and its peacefully anxious rhythm, Manuel Göttsching's monumental modular album E2-E4 , from 1984. But unlike Göttsching, tranquility and innovation aren't the aim here; Gavilán Rayna Russom is legibly investigating the futility of binaries through the spooky actions of sound. The discordant meditations in the second movement, "Expansions," slide away for the transfixing and daydreamy "Beauty," before settling into the project's rhetorical core in its final movement, "Truth." The whole is greater than the sum of its already-magnificent parts — its conclusion, which is objectively correct, is that there are no right answers when it comes to the act of human being. —Andrew Flanagan

Joe Rainey, Niineta

Since the age of 8, Joe Rainey — a self-described Ojibwe "urban Indian," raised near Minneapolis' tribal locus of Little Earth — has captured 500 hours of powwow ceremonies, emerging as a powerhouse singer on the competitive circuit himself. Niineta is his debut collaboration with empathetic and attentive producer Andrew Broder; they crosshatch Rainey's archives with his own visceral melismas, turning it into a master storyteller's coat of arms across a ruptured firmament of mauling drums and sculptural squelch. Solemn but funny, vulnerable but aggressive, the messages are gripping, even if the tongue is unfamiliar. Rainey is at the radical edge of a wave of Indigenous experimental expression and acceptance in the United States. Niineta is his undeniable opening statement. —Grayson Haver Currin

Horse Lords, Comradely Objects

Into polyrhythms lately? Want sounds so mathy that they feel like they're made of fractions? Can't find your old copy of Neu! ? Do I have an incredibly specific album for you. Angular Baltimoreans — addicted to the tasty, old-school flavor of the West German avant-garde guitar minimalists — can't help themselves from chugging lavishly with guitars and saxophones for a violently kosmische album that sounds like 40 different looms weaving a tapestry. You would think this whole thing would be fustier per the weight of their admitted influence ("Russian Constructivism," which is to say, a utopian art movement that wants less commodity-fetishism and more utility-fetishism), but this album succeeds for feeling strangely rustic in its human filigree. —Mina Tavakoli

Anna Butterss, Activities

In terms of composition, the bassist Anna Butterss seems to shadow-chop through her songs, finding weak spots in their otherwise sparkling walls to pound a hole for peeking through. What lies beyond is anyone's guess (maybe hers most of all). Activities transitions fluidly and ceaselessly between — literally, between — jazz, classical, pop, avant-dance and nursery rhymes, the work of an artist at near-peak technicality having nothing but fun. —Andrew Flanagan

Ian William Craig, Music for Magnesium_173

Armed with a beautifully trained voice and a bank of custom tape decks that loop, slur and hiss, the Canadian artist has created limitless layers of decaying beauty over the span of 12 tracks. In "Attention For It Radiates," choral flourishes, dressed in William Basinski-like distortion, slowly oscillate, while in "Sprite Percent World Record" a single voice barely surfaces above lovely thickets of drone. Originally composed for a computer game, these expansive, slow-motion canvasses, with their desiccated resplendence, stand completely on their own and remain among the most arresting and immersive music released this year. —Tom Huizenga

Björk, fossora

The global grief we've shared during the last few years didn't limit, of course, our individual suffering; it merely made those cuts deeper. Björk used the space of the pandemic to consider her mother's 2018 death and how the influence of a mortal may become immortal through others, reaching ever outward like a mushroom's hyphae. The result, fossora , is a riot of new growth after a deluge. Armies of meticulous if vertiginous woodwinds and strings prance around Björk's singular voice , able to command and comfort at once. "Hope is a muscle that allows us to connect," she beams three minutes in, relentless hardcore drums hammering home this point so that we may never again forget it. These love songs, arguably the most audacious of her career, are brilliant blooms at a perceived new dawn. —Grayson Haver Currin

And 10 more, in no particular order:

Patrick Shiroishi, Evergreen Patrick Shiroishi made 18 records in 2022, all compelling; his finale, Evergreen , is the most exquisite. Using field recordings from the Los Angeles cemetery where his ancestors are buried, the saxophonist builds lush meditative spaces for considering the power that past holds over present. —Grayson Haver Currin

Rachika Nayar, Heaven Come Crashing A mesmerizing album that blends soul-crushing electronica and the Brooklyn composer's gloomy, signature guitar into a cinematic opus. —Hazel Cills

Bill Orcutt, Music for Four Guitars This is antechamber music spit like a piping-hot tar-loogie from the punkest guitar player ever. Yet these choppy, euphoric miniatures are somehow beautiful in their psychic bleed-through. — Lars Gotrich

Peter Coccoma, A Place to Begin Peter Coccoma's annual, winterly sojourn to a sparse island on Lake Superior sitting just off the coast of Minnesota's arrowhead was extended indefinitely by a certain global displeasure not too many years ago. The composer enjoyed the trapped time, though, and spent it well, fastidiously outlining the soul of a unique and quiet corner of the world in these sparse, lush pieces. —Andrew Flanagan

Clarice Jensen, Esthesis Lighter on the drones this time, the restless cellist and composer explores a broader sound world with help from pianist Timo Andres, in music layered with sensations. —Tom Huizenga

claire rousay, wouldn't have to hurt At its best, claire rousay's work can function like a poignant film score, with subtle layers of sound — iridescent electronics, spare piano — highlighting the emotional core of seemingly pedestrian moments. This absorbing EP stares down suffering and tries to transmute it into anything tolerable, be it friendship or mere understanding. —Grayson Haver Currin

Marina Herlop, Pripyat The Catalan composer's album is a work of truly alien music, twisting her freaky, high vocals and piano into soundscapes not of this world. —Hazel Cills

Vanessa Rossetto, The Actress Rossetto layers field recordings and instruments not as a canvas but emotional portraits that you move with your mind. An experience that changes on every listen. —Lars Gotrich

Tanya Tagaq, Tongues "They tried to take our tongues," the Inuk throat singer murmurs on this potent manifesto, demanding to reclaim what colonization has stolen from her culture. —Tom Huizenga

Lamin Fofana, The Open Boat The Sierra Leonean producer gives us a mysterious map, but there doesn't seem to be a ship capable of navigating its extraterrestrial electronics and submerged beats. —Lars Gotrich

• Nancy Mounir
• Evgueni Galperine
• Lucrecia Dalt
• Caterina Barbieri
• Anna Butterss
• Horse Lords
• Ian William Craig
• Gavilán Rayna Russom

• Experimental Sound

What Defines Experimental Music: A Comprehensive Exploration

• December 31, 2023

Music has always been a reflection of the society we live in, a canvas where artists paint their emotions and thoughts for others to interpret. But what happens when music breaks free from its traditional boundaries and becomes something else entirely? That’s right, we’re talking about experimental music. In this comprehensive exploration, we’ll dive deep into the world of experimental music and discover what makes it so unique. From its origins to its evolution, we’ll examine the elements that define this genre and what sets it apart from the rest. So, get ready to challenge your perception of music and embark on a journey to the edge of creativity.

Experimental Music: A Historical Overview

The emergence of experimental music.

Experimental music can be traced back to the early 20th century, with its origins emerging from various artistic and cultural movements. This genre of music is characterized by its exploration of new and unconventional sound-making techniques, as well as its rejection of traditional musical norms and conventions.

One of the earliest forms of experimental music was the work of the German composer Arnold Schoenberg, who rejected the traditional tonal system and developed the twelve-tone technique. This technique involved organizing pitches in a specific order, which resulted in a new form of atonality that challenged the traditional way of hearing music.

Another significant development in the emergence of experimental music was the work of the French composer Pierre Boulez, who introduced the concept of aleatoric music. This form of music involved the use of chance and randomness in the composition process, resulting in a new form of unpredictability and spontaneity in the music.

The emergence of experimental music was also closely tied to the development of electronic music. The invention of the electronic oscillator by the German engineer Oskar Sala in the 1930s opened up new possibilities for sound creation, which were further explored by composers such as Karlheinz Stockhausen and Gottfried Michael Koenig in the 1950s and 1960s.

Overall, the emergence of experimental music marked a significant departure from traditional musical norms and conventions, and paved the way for new forms of musical expression and creativity.

Key Figures and Influential Works

Experimental music has been shaped by numerous composers, performers, and artists who have pushed the boundaries of conventional music -making. In this section, we will delve into the lives and works of some of the most influential figures in the world of experimental music.

John Cage, an American composer, and music theorist, is widely regarded as one of the most significant figures in the development of experimental music. His work explored unconventional sounds, silences, and the use of chance operations, challenging traditional notions of melody, harmony, and rhythm.

Some of Cage’s most influential works include:

• “Imaginary Landscape No. 4” (1951) – A composition for 12 radio receivers, each tuned to a different station, creating an unpredictable soundscape.
• “4’33″” (1952) – A composition in which the performer remains silent for four minutes and thirty-three seconds, exploring the sounds of the environment.
• “Sonatas for Piano and Oboe” (1952-55) – A series of sonatas that incorporate elements of chance and silence, pushing the limits of conventional composition.

Karlheinz Stockhausen

Karlheinz Stockhausen, a German composer, and electronic music pioneer, was another key figure in the development of experimental music. His work focused on the use of technology and unconventional sounds, exploring new dimensions of musical expression.

Some of Stockhausen’s most influential works include:

• “Gesang der Jünglinge” (1955-56) – An electronic composition that blends human voices with synthesized sounds, creating a unique and otherworldly musical experience.
• “Mantra” (1970) – A multi-layered electronic composition that explores the relationship between sound, time, and the human perception of reality.
• “Inori” (1971-72) – A vocal composition that combines ancient Japanese texts with electronic sounds, creating a meditative and immersive musical experience.

Merce Cunningham

Merce Cunningham, an American dancer and choreographer, played a significant role in the development of experimental music through his collaborations with John Cage. Cunningham’s innovative approach to dance challenged traditional notions of movement and form, creating a unique synergy between music and movement.

Some of Cunningham’s most influential works include:

• “RainForest” (1968) – A dance piece that incorporates elements of chance and improvisation, exploring the relationship between movement, sound, and space.
• “Summerspace” (1958) – A dance piece that combines Cage’s electronic music with Cunningham’s innovative choreography, creating a dynamic and immersive performance experience.
• “Anticodes” (1952) – A dance piece that features Cage’s unconventional musical scores, pushing the boundaries of musical and choreographic expression.

These key figures and their influential works have had a profound impact on the development of experimental music , paving the way for future generations of composers, performers, and artists to continue pushing the boundaries of musical expression.

The Evolution of Experimental Music

The evolution of experimental music can be traced back to the early 20th century, with the advent of modernism and the avant-garde movements. During this time, composers and musicians began to push the boundaries of traditional music, exploring new sounds, techniques, and forms.

One of the earliest pioneers of experimental music was Arnold Schoenberg, who developed the twelve-tone technique in the 1920s. This method involved organizing musical pitches according to a specific mathematical pattern, which drastically departed from the traditional tonal system.

In the 1950s and 1960s, the experimental music scene exploded with the rise of the Fluxus movement, which embraced a wide range of experimental approaches to music-making. This included the use of found objects, improvisation, and electronic music.

The 1970s saw the emergence of minimalism, with composers such as Steve Reich and Philip Glass developing new techniques for creating complex rhythmic patterns through the repetition of simple musical elements.

Throughout the latter half of the 20th century, experimental music continued to evolve and diversify, with the emergence of genres such as noise music, drone music, and electronic dance music. These styles often incorporated elements of technology, industrial sounds, and abstract noise, pushing the boundaries of what was considered “musical” in traditional Western classical music.

Today, experimental music continues to thrive, with artists and composers pushing the limits of what is possible in sound and music creation.

Experimental Music: Genres and Subgenres

Noise music.

Noise music is a subgenre of experimental music that emerged in the mid-20th century. It is characterized by the use of unconventional sounds, raw and distorted electronics, and non-musical elements such as field recordings and found sounds. The genre often explores the boundaries of audibility and challenges the listener’s expectations of what constitutes music.

One of the key figures in the development of noise music was the Japanese musician, Takehisa Kosugi, who in the 1960s began experimenting with electronic sounds and non-musical elements in his compositions. Another important figure was the American composer, John Cage, whose work with prepared pianos and other unconventional instruments laid the groundwork for the exploration of unconventional sounds in experimental music.

Noise music is often associated with the avant-garde movement and is closely related to other experimental genres such as drone music and industrial music. It has also influenced various subgenres of electronic music, such as techno and experimental hip-hop.

Despite its experimental nature, noise music has gained a dedicated following and has been embraced by a diverse range of artists and musicians. It continues to be an influential force in the world of experimental music, pushing the boundaries of what is considered music and challenging conventional notions of sound and musical structure.

Electroacoustic Music

Electroacoustic music is a subgenre of experimental music that emerged in the mid-20th century. It is characterized by the use of electronic sounds and electroacoustic techniques in the creation of music. The term “electroacoustic” refers to the use of electronic devices, such as synthesizers and computers, to produce and manipulate sound.

One of the key figures in the development of electroacoustic music was the French composer Pierre Schaeffer, who coined the term “musique concrète” in the 1940s to describe his experiments with recorded sound. Schaeffer’s work involved manipulating recorded sounds using tape splicing and other techniques, and he later developed the concept of “acousmatic music,” which refers to music that is composed entirely from recorded sounds.

In the 1950s and 1960s, a number of composers and researchers began to experiment with electronic sound generation and synthesis, including the Italian composer Gino Marinuzzi Jr., who developed the first electronic synthesizer in 1939, and the American composer and inventor Hugh Le Caine, who developed the “multimix” system for creating electronic sound textures.

Today, electroacoustic music continues to be an important subgenre of experimental music, with composers and musicians using a wide range of electronic devices and techniques to create new and innovative sounds. Some notable contemporary electroacoustic composers include the Canadian composer and performer Tim Hecker, the French composer and sound artist Pierre Henry, and the American composer and instrument builder Evan Ziporyn.

Improvisation and Free Jazz

Improvisation and free jazz are two subgenres of experimental music that emphasize spontaneity and creative expression. Improvisation involves the creation of music in the moment, often without prior preparation or planning. This can include solo improvisation, as well as improvisation by groups or ensembles. Free jazz, on the other hand, is a style of jazz that emphasizes spontaneity and freedom, often through the use of dissonance and unconventional harmonies. Both improvisation and free jazz are rooted in the concept of exploring new sounds and techniques, and both have played a significant role in the development of experimental music.

Minimalism and Drone Music

Minimalism and drone music are two distinct yet related subgenres of experimental music. Minimalism is characterized by the repetition of simple patterns or motifs, often with subtle variations, creating a sense of continuity and monotony. Drone music, on the other hand, involves the sustained playing of a single note or a series of notes, creating a continuous and static sound.

Both subgenres have their roots in the avant-garde movement of the 1960s and 1970s, and have since evolved to encompass a wide range of styles and techniques. Some of the key characteristics of minimalism and drone music include:

• Repetition : Both subgenres rely heavily on repetition, with minimalism often featuring repetition of simple patterns or motifs, and drone music featuring sustained notes or chords.
• Simplicity : Minimalism and drone music often feature simple, stripped-down structures, with a focus on essence and essence of the sound.
• Texture : Both subgenres place a strong emphasis on texture, with compositions often featuring a rich, layered sound.
• Duration : Minimalist and drone music compositions can be long and continuous, often lasting for several minutes or even hours.
• Meditative quality : Both subgenres can evoke a sense of calm and stillness, and are often used in meditation and relaxation.

Minimalism and drone music have had a significant impact on the development of experimental music , influencing the work of composers and musicians across a wide range of genres. Today, the subgenres continue to inspire new generations of artists, and remain an important part of the experimental music scene.

Experimental Music: Techniques and Approaches

Extended techniques.

• Introduction to Extended Techniques

Extended techniques refer to the innovative and unconventional ways of playing instruments that push the boundaries of traditional musical techniques. These techniques often involve the manipulation of sounds, timbres, and textures to create new and unique sonic landscapes. In the realm of experimental music, extended techniques play a crucial role in exploring the limits of the instruments and the human voice.

• Techniques for Instrumental Manipulation

Instrumental manipulation techniques involve physically altering the instrument to produce unconventional sounds. Examples of these techniques include playing the strings of a piano with various objects, such as a rubber band or a piece of metal, or striking the body of a drum with a variety of implements to create a range of percussive textures.

• Techniques for Voice Manipulation

Voice manipulation techniques involve altering the natural sound of the human voice through various means. This can include techniques such as singing with a bent or microtonal pitch, vocalizing through various forms of distortion or effects, or incorporating extended techniques on wind instruments into the voice.

• Techniques for Electronic Manipulation

Electronic manipulation techniques involve using electronic devices to manipulate and transform sounds. This can include techniques such as using a guitar through a range of effects pedals, using a computer to manipulate sounds with software, or incorporating found sounds from the environment into the musical composition.

• Techniques for Multimedia Integration

Multimedia integration techniques involve incorporating visual elements, such as video or projection, into the musical performance. This can include techniques such as using live video feeds, incorporating lighting into the performance, or using costumes and stage props to enhance the overall musical experience.

• Techniques for Spatialization

Spatialization techniques involve using sound in a three-dimensional space to create a unique sonic experience. This can include techniques such as using multiple speakers to create a surround sound effect, using directional sound to create a sense of movement or distance, or incorporating soundscapes to create an immersive sonic environment.

Extended techniques play a crucial role in the realm of experimental music, as they allow for the exploration of new and unconventional sounds, textures, and timbres. These techniques push the boundaries of traditional musical techniques and often require a high level of technical skill and creativity to execute effectively.

Electronic and Computer-Based Music

Electronic and computer-based music are prominent techniques and approaches in experimental music. These techniques involve the use of electronic devices, computers, and software to create sound.

Some of the key characteristics of electronic and computer-based music include:

• The use of synthesizers and other electronic instruments to generate sounds that are not possible with traditional acoustic instruments.
• The manipulation of sound through digital signal processing techniques, such as filtering, delay, and reverb.
• The use of computers to generate and manipulate sound in real-time, allowing for complex and evolving textures.
• The incorporation of found sounds and field recordings, which are sounds recorded from the environment and manipulated to create new textures and meanings.

These techniques have allowed for the creation of new sounds and musical styles, such as ambient, techno, and electroacoustic music. Additionally, electronic and computer-based music often blur the boundaries between music and other forms of art, such as visual art and performance art.

Found Sound and Sampling

Found sound and sampling are two techniques commonly used in experimental music. These techniques involve the incorporation of pre-existing sounds or audio recordings into new musical compositions.

Found sound refers to the use of sounds that were not originally intended to be musical, but are repurposed and integrated into a musical composition. These sounds can come from a variety of sources, such as nature, industrial environments, or even everyday objects. The use of found sound in experimental music often challenges traditional notions of musicality and pushes the boundaries of what is considered acceptable in music.

Sampling, on the other hand, involves the use of pre-recorded sounds or musical fragments and manipulating them to create new musical compositions. This technique has become increasingly popular in electronic music and has allowed for the creation of new and unique sounds through the manipulation of existing ones.

Both found sound and sampling techniques have been used in a variety of experimental music genres, including noise music, industrial music, and electroacoustic music. These techniques often blur the lines between music and noise, creating a sense of tension and uncertainty in the listener.

Overall, the use of found sound and sampling in experimental music highlights the importance of exploring new sonic territories and pushing the limits of traditional musical forms.

Unconventional Instruments and Sculpture

Experimental music often employs unconventional instruments and sculpture to create unique and innovative sounds. These instruments may be created from unconventional materials or may be constructed in a way that challenges traditional instrument design. Some examples of unconventional instruments used in experimental music include the prepared piano, the glass harmonica, and the waterphone. These instruments are often used in combination with traditional instruments and electronic instruments to create a distinct and unique sound.

Sculpture also plays a significant role in experimental music. Some composers and performers use sculptural elements in their performances, incorporating physical objects and materials into their music. This can include the use of found objects, such as metal scraps or broken glass, which are incorporated into the performance space to create unconventional sounds. Other composers and performers use sculpture to create new musical instruments, such as the theremin, which was invented by Leon Theremin in the 1920s and is played without any physical contact by the performer.

In addition to unconventional instruments and sculpture, experimental music often employs unconventional techniques to create new and innovative sounds. This can include techniques such as extended techniques, which involve unconventional ways of playing traditional instruments, and electroacoustic techniques, which involve the use of electronic technology to manipulate and transform sound. By pushing the boundaries of traditional music-making techniques and approaches, experimental music continues to evolve and expand the possibilities of sound and music.

Experimental Music: Challenging the Conventions

The blurred lines between art and music.

The boundaries between art and music have long been a subject of debate, and experimental music is one of the genres that challenge these boundaries. This form of music transcends traditional definitions and seeks to push the limits of what is considered acceptable or conventional. As a result, the lines between art and music become blurred, creating a unique and intriguing sound experience.

One of the ways in which experimental music blurs the lines between art and music is by incorporating non-traditional sounds and instruments. Unconventional sounds, such as found objects, field recordings, and electronic noise, are often used to create a soundscape that is not limited to traditional musical instruments. This approach challenges the listener’s perception of what constitutes music and invites them to reconsider their expectations.

Another way in which experimental music blurs the lines between art and music is by emphasizing the visual and performance aspects of music. In many experimental music performances, the musicians themselves become a part of the performance, using their bodies and movements to create a visual experience that complements the auditory experience. This approach is similar to the concept of performance art, where the artist’s body becomes a medium for expression.

Furthermore, experimental music often challenges the conventional structure of music, such as the use of traditional melodies, harmonies, and rhythms. This form of music often experiments with unconventional structures, such as aleatoric music, in which the performer has some freedom to determine the structure of the piece. This approach challenges the listener’s expectation of what constitutes a musical structure and invites them to reconsider their understanding of music.

Overall, the blurred lines between art and music in experimental music reflect a broader trend in contemporary art and music to challenge traditional boundaries and expectations. By incorporating non-traditional sounds and instruments, emphasizing the visual and performance aspects of music, and experimenting with unconventional structures, experimental music creates a unique and intriguing sound experience that transcends traditional definitions of music.

Experimental Music as a Tool for Social and Political Commentary

Experimental music has long been used as a tool for social and political commentary, providing a platform for artists to express their views on the world around them. This type of music often challenges conventional norms and expectations, pushing the boundaries of what is considered acceptable or mainstream.

One of the key aspects of experimental music as a tool for social and political commentary is its ability to explore and critique the world around us. Through the use of unconventional sounds, techniques, and structures, experimental music can shed light on the social and political issues that shape our lives. By using music as a medium for exploring these issues, artists can engage with their audience in a unique and powerful way.

Experimental music can also be used to challenge the status quo and provoke thought and reflection. By pushing the boundaries of what is considered acceptable or mainstream, experimental music can encourage listeners to question their own beliefs and assumptions. This type of music can also provide a platform for marginalized voices, allowing them to express their experiences and perspectives in a way that may not be possible through other forms of media.

Overall, experimental music as a tool for social and political commentary is a powerful and effective way for artists to engage with their audience and challenge conventional norms and expectations. Whether through the use of unconventional sounds, techniques, or structures, experimental music has the ability to provoke thought and reflection, and to shed light on the social and political issues that shape our lives.

Experimental Music as a Form of Self-Expression

Experimental music is often used as a form of self-expression by artists who seek to push the boundaries of conventional music and explore new sounds and techniques. This form of self-expression allows artists to express their innermost thoughts, emotions, and experiences through their music, often creating a unique and personal sound that reflects their individuality.

One of the key aspects of experimental music as a form of self-expression is the emphasis on originality and creativity. Artists who create experimental music often seek to create something new and innovative, pushing the limits of what is considered conventional or acceptable in the world of music. This often involves exploring new sounds, techniques, and instruments, as well as incorporating elements from other art forms, such as visual art, literature, and dance.

Experimental music also often serves as a means of communication between the artist and the listener. Through their music, artists can convey complex ideas, emotions, and experiences that may be difficult to express through traditional forms of communication. This can create a powerful connection between the artist and the listener, allowing both to explore new perspectives and experiences through the power of music.

However, the use of experimental music as a form of self-expression can also be seen as controversial or challenging to some audiences. The unconventional nature of experimental music can make it difficult for listeners to fully understand or appreciate the artist’s intended message, leading to confusion or even rejection of the music. This can make it difficult for experimental musicians to find a receptive audience, and can sometimes lead to criticism or rejection from the music industry or mainstream audiences.

Overall, experimental music serves as a powerful form of self-expression for artists who seek to push the boundaries of conventional music and explore new sounds and techniques. While it may be challenging for some audiences to fully appreciate or understand, it continues to be an important and influential part of the music world, inspiring new generations of artists to push the limits of what is possible in music.

Experimental Music: Contemporary Trends and Developments

The impact of technology on experimental music.

The integration of technology has been a defining factor in the evolution of experimental music. With the advent of new technologies, musicians have been able to push the boundaries of what is possible in their art form. Here are some ways in which technology has impacted experimental music:

• Digital Audio Workstations (DAWs): DAWs have revolutionized the way that music is recorded, mixed, and produced. These software programs allow musicians to manipulate and edit sound in ways that were previously impossible. DAWs have enabled musicians to create complex, layered soundscapes and to experiment with new sounds and textures.
• Sampling and Synthesis: Sampling and synthesis are two of the most important techniques in experimental music. These techniques allow musicians to take sounds from different sources and transform them into something new and unique. With the advent of digital technology, sampling and synthesis have become much more accessible and powerful.
• Live Electronics: Live electronics refers to the use of electronic devices and instruments in a live performance setting. This can include anything from traditional synthesizers to custom-built electronic instruments. Live electronics have enabled musicians to create real-time, improvised performances that are highly experimental and unpredictable.
• Interactive Technologies: Interactive technologies, such as motion sensors and touch screens, have opened up new possibilities for experimental music. These technologies allow musicians to create performances that are highly responsive to the environment and the audience.
• Social Media and Online Distribution: Social media and online distribution platforms have made it easier than ever for experimental musicians to share their work with a global audience. This has led to a proliferation of experimental music scenes and communities around the world.

Overall, technology has had a profound impact on experimental music. It has enabled musicians to create new sounds, new instruments, and new performance techniques. It has also opened up new channels for distribution and promotion, making it easier for experimental musicians to reach a wider audience.

The Rise of Digital Distribution and the Democratization of Experimental Music

The impact of digital distribution on experimental music.

The rise of digital distribution has significantly impacted the way experimental music is produced, marketed, and consumed. The advent of the internet and digital platforms has provided artists with a myriad of opportunities to share their work with a global audience, thereby increasing the visibility and accessibility of experimental music.

Streaming Services and the Democratization of Experimental Music

Streaming services such as Spotify, Apple Music, and SoundCloud have revolutionized the way experimental music is consumed. These platforms provide users with access to a vast library of experimental music, allowing them to discover new artists and genres from around the world. The democratization of experimental music has led to a greater diversity of voices and styles, as well as a broader appreciation for the art form.

The Role of Social Media in Promoting Experimental Music

Social media platforms such as Instagram, Twitter, and Facebook have also played a significant role in promoting experimental music. Artists can now use these platforms to connect with their audience, share their work, and engage with other musicians and music enthusiasts. Social media has enabled experimental music to reach a wider audience, creating a community of listeners and supporters who are passionate about the art form.

The Evolution of Experimental Music Festivals and Concerts

Digital distribution has also influenced the way experimental music festivals and concerts are organized and promoted. With the rise of online ticket sales and social media marketing, experimental music events can now reach a global audience, attracting fans from around the world. Additionally, digital platforms have enabled artists to collaborate and share their work with other musicians and producers, leading to the development of new sounds and styles.

The Future of Experimental Music and Digital Distribution

As digital distribution continues to evolve, the future of experimental music remains bright. With the democratization of music production and distribution, there is an ever-increasing number of artists and audiences engaging with experimental music. The continued development of digital platforms and technologies will undoubtedly lead to new innovations and creative possibilities in the world of experimental music.

Collaborations and Cross-Disciplinary Approaches

Collaborations and cross-disciplinary approaches have become increasingly prevalent in experimental music, reflecting a growing desire among artists to transcend traditional boundaries and create new synergies between different forms of expression.

One of the most notable aspects of this trend is the increasing number of collaborations between experimental musicians and artists from other fields, such as visual arts, theater, and dance. These collaborations often involve the creation of multimedia works that combine sound, music, and other forms of expression, pushing the boundaries of what is possible in each medium.

Another key aspect of this trend is the growing interest in cross-disciplinary approaches to music-making. This includes the use of unconventional instruments and technologies, as well as the incorporation of non-musical elements such as field recordings, found sounds, and electronic noise. By embracing these unconventional approaches, experimental musicians are able to create new sounds and textures that challenge the listener’s expectations and push the boundaries of what is possible in music.

Furthermore, the rise of digital technologies has enabled new forms of collaboration and cross-disciplinary experimentation. Digital tools such as software synthesizers, audio processing algorithms, and music production software have opened up new possibilities for musical expression, allowing artists to create and manipulate sound in ways that were previously impossible. This has led to a proliferation of new musical styles and genres, as well as a greater degree of experimentation and innovation in the field of electronic music.

Overall, the trend towards collaborations and cross-disciplinary approaches in experimental music reflects a growing desire among artists to break down traditional barriers between different forms of expression and to explore new ways of creating and experiencing music. By embracing these unconventional approaches, experimental musicians are able to push the boundaries of what is possible in music, creating new sounds and textures that challenge the listener’s expectations and open up new avenues for artistic expression.

The Enduring Appeal of Experimental Music

Despite the ever-evolving nature of music, experimental music continues to captivate listeners and musicians alike. The enduring appeal of this genre lies in its capacity to challenge conventional notions of sound, composition, and performance. Here, we delve into the factors that contribute to the enduring allure of experimental music.

• Embracing the Unconventional: Experimental music pushes the boundaries of traditional music forms, often incorporating unconventional sounds, instruments, and techniques. This unorthodox approach to music-making has an inherent appeal, as it encourages listeners to reevaluate their preconceived notions of what constitutes “good” or “proper” music.
• Fostering Artistic Expression: Experimental music provides a platform for artists to explore their creativity and push the limits of their craft. By experimenting with new sounds, techniques, and forms, musicians can forge unique sonic landscapes that reflect their individuality and artistic vision.
• Promoting Innovation and Evolution: Experimental music has played a pivotal role in the development of many contemporary music genres, such as electronic, ambient, and industrial music. This innovative spirit continues to drive the evolution of music, as artists constantly seek new ways to challenge themselves and their audiences.
• Engaging the Imagination: Experimental music often evokes a sense of wonder and curiosity, as it invites listeners to immerse themselves in unfamiliar sonic realms. This can inspire a heightened sense of imagination and creativity, encouraging listeners to explore new ideas and perspectives.
• Fostering a Sense of Community: Experimental music communities, both online and offline, provide a platform for like-minded individuals to connect, collaborate, and share their passion for this unique genre. This sense of community and shared interest can foster a strong sense of belonging and support among experimental music enthusiasts.
• Personal Connection and Empathy: Experimental music often reveals the humanity and vulnerability of the artists behind it, as they explore the limits of their craft and share their innermost creative impulses. This can foster a deep sense of personal connection and empathy between artists and listeners, as they share in the experience of pushing the boundaries of musical expression.

These factors contribute to the enduring appeal of experimental music, as it continues to captivate listeners and inspire artists to push the limits of musical expression.

The Importance of Continued Exploration and Innovation

Experimental music has a long and storied history, marked by a series of innovations and breakthroughs that have continually expanded the boundaries of what is possible in sound. As we continue to explore and innovate within this tradition, it is important to consider the unique role that continued experimentation plays in shaping the future of music.

Embracing Uncertainty and Risk-Taking

One of the key factors that has driven the evolution of experimental music is a willingness to embrace uncertainty and take risks. This has meant pushing the limits of conventional music-making techniques and exploring new sounds, textures, and forms that challenge our preconceptions of what music can be.

The Role of Technology in Experimental Music

Technology has played a crucial role in the development of experimental music, providing new tools and techniques for artists to explore and pushing the boundaries of what is possible in sound. From early electronic music experiments to the latest advances in digital audio technology, artists have continually embraced new technologies to create innovative and groundbreaking works.

Collaboration and Cross-Disciplinary Exchange

Experimental music has also been marked by a strong tradition of collaboration and cross-disciplinary exchange, with artists drawing inspiration from a wide range of fields including visual art, dance, theater, and science. This has allowed for the creation of works that transcend traditional musical genres and offer new and exciting possibilities for musical expression.

The Importance of Audience Engagement

Finally, it is important to consider the role of the audience in the development of experimental music. By engaging with audiences in new and innovative ways, artists can create works that challenge and inspire, pushing the boundaries of what is possible in sound and encouraging new forms of musical expression.

In conclusion, continued exploration and innovation are essential to the future of experimental music. By embracing uncertainty, utilizing technology, collaborating across disciplines, and engaging with audiences in new ways, artists can continue to push the boundaries of musical expression and create works that challenge and inspire.

1. What is experimental music?

Experimental music is a broad term used to describe music that pushes the boundaries of conventional music and explores new and unconventional sounds, techniques, and styles. It often incorporates elements from other genres and art forms, and seeks to challenge the listener’s expectations and perceptions of what music can be.

2. What makes music experimental?

Music can be considered experimental if it uses unconventional sounds, techniques, or structures that challenge the listener’s expectations and push the boundaries of conventional music . Experimental music often incorporates elements from other genres and art forms, and may use unconventional instruments, electronic or digital technology, or other non-traditional sounds.

3. Who creates experimental music?

Experimental music can be created by anyone who is interested in pushing the boundaries of conventional music and exploring new and unconventional sounds, techniques, and styles. Experimental music has been created by a wide range of artists, including composers, musicians, sound artists, and electronic music producers.

4. What are some examples of experimental music?

There are many different types of experimental music, and it can be difficult to define what constitutes “experimental” in a specific context. Some examples of experimental music include the works of John Cage, the music of the Dutch group The Hague School, and the electronic music of acts like Aphex Twin and Autechre.

5. Why is experimental music important?

Experimental music is important because it challenges the listener’s expectations and perceptions of what music can be, and pushes the boundaries of conventional music . It can inspire new ways of thinking about music and the creative process, and can lead to the development of new sounds, techniques, and styles. Experimental music can also serve as a platform for social and political commentary, and can be used to explore and express a wide range of emotions and ideas.

Experimental Music for Dummies (w/ Alparr)

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Public & Media Relations for Metal, Punk, Indie, Ambient, Goth, and Experimental Music

QABAR {Grave in English} Extreme Music PR is the consequence of the blueprint, manifested by Hassan Amin { AKA Hassan Dozakhi } and Zoheb Mahmud . Both critters have been involved in the extreme music landscape with various manoeuvres. Hassan is the Frontman of various bands including Multinational Corporation , Foreskin and others , Founder and Editor of Eternal Abhorrence {Extreme Music Blog}, and also Organizers of various local gigs. Whereas, Zoheb is a part of Venustas Diabolicus {a community and webzine dedicated to black metal music} and Primitive Invocation {responsible for organizing Banish the Posers Fest and various Extreme Metal gigs/fests}, and also a PR guy of a few bands.

Mentioned persons have done PR activities for different bands, and now unite to provide the Press/Media promotional services to the underprivileged bands who cannot afford the exorbitant rates of the established PR/Promotional Firms.

A major hindrance that is preventing the artists/labels from going forward is the proper way of promotion. And spreading the artists’/labels music to media and press will definitely enable the opportunity to get wider audiences, good label or good promoters.

Qabar’s specializes in all sorts of Extreme Music : Thrash, Heavy, Doom, Black, Death, Cross, Sludge, Grind, Crust, Powerviolence, D-beat, Hardcore, Hard Rock and other subgenres of Rock/Punk/Metal.

Qabar Extreme PR does all sorts of campaigns [album – demo, live and studio releases and tours/gigs/fests] within a very affordable rate. {For more details, check the “Rates and Services Section” }.

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I’m releasing a solo black metal EP on cassette ( haven’t set a release date yet). I just need to get some potential reviews and radio plays. My background is in hardcore punk so this is a different style to what my usual audience is into, hence me needed a bit of help to promote it. I probably won’t be doing any shows either. This is just a recording project, so probably not the easiest thing to promote. However, I’ve got a pretty solid concept and no shortage of material, so I can’t see any reason why this shouldn’t be reasonably successful to some degree, if handled appropriately.

Please email us at: qabarpr (at) gmail (dot) com

Hello, I’ve got a black metal band called Cursed Be Thy Flesh and I’ve got some plans to release a full length around January 2023 and would like to get some PR for it here soon..

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The 200+ Best Experimental Bands & Musicians, Ranked

Unlike other musical genres, anything that experimental bands do is unpredictable. Whether that's by nature, by training or just something they enjoy doing, experimental artists know how to push the envelope on what their fans consume sonically and their songs generally challenge the convention of even what loyal fans can predict will happen. The bands on this list are generally of the pop and rock music variety. Many of the experimental bands and experimental artists are on here for their willingness to change song structure, fuse genres and use instruments and sounds that weren't well known or even thought of in the same way.

So, what are the best experimental bands and experimental artists? You've probably heard of the experimental music artists that are in the top half of this list. David Bowie, Bjork, Animal Collective, Frank Zappa and Peter Murphy are names associated with experimental music. These artists have all challenged their listeners by releasing music that isn't conventional and thus, have actually become more beloved by their fans.

That said, it's up to you to determine what are the best experimental bands. If you notice that a band isn't on this list and should be, feel free to add them. This list answers the questions "who are the best experimental music bands of all time?" and "who is the greatest experimental music musician ever?"

David Bowie

The Velvet Underground

Captain Beefheart & His Magic Band

Frank Zappa

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Yoo Doo Right “From The Heights Of Our Pastureland”

Artist: Yoo Doo Right Title: From The Heights Of Our Pastureland Format: LP, Digital Label: Mothland Distribution: The Orchard Genre: Experimental Rock Release Date: 08/11/2024

From The Heights Of Our Pastureland  is an expanding succession of highly dynamic musical epics intertwined with emotionally-charged sonic explorations. Whether carefully harvesting melodic soundscapes, repeating mantra-like arrangements with mechanical precision, digging unfathomably deep amidst abyssal electrical signals, or simply saturating reels with raucous abandon,  Yoo Doo Right  set out to further develop ideas they previously started exploring, in turn offering a third full-length that is darker, heavier, even more ominous than their previous works.

The band comments: “ We aimed for something cinematic, but not in the way of a score, rather something more experiential. We wanted to create music that could ignite drive in oneself, hopefully something of significance in and of itself. While we’re really not here to force understanding on people, for us the predominant themes are anxiety and patience, the storm of colonialism, the collapse of capitalism and the massive undertaking it is to rebuild with past mistakes taken into deep consideration. It draws a parallel between natural disaster and social disaster, the experience of watching an impending destructive storm roll in and watching an impending societal disaster unfold under our current colonial, capitalistic frameworks. Hopefully, folks can give themselves time to make some sensible thoughts of the album on their own. “

Yoo Doo Right began writing  From The Heights Of Our Pastureland  while visiting a remote cabin near Saguenay, QC in the Winter of 2023. Snowed in, Cober, Masson and Talbot simply played for three days straight, archiving anything and everything, musing about “the storm of colonialism, the collapse of capitalism and the massive undertaking it is to rebuild with past mistakes taken into deep consideration”, and ultimately laying the groundwork for their third opus. Thus, the album draws deep inspiration from parallels drawn between natural phenomena ranging from bad weather to environmental disasters and the equally overwhelming force of our socio-political frameworks. Also compelled by the commodification of art, AI and algorithmic art, the trio later revisited the pieces, altering their initial compositions by way of element juxtaposition and extensive sound design. In embracing their penchant for sonic manipulation in all of its forms, the experimentalists achieved an uncanny equilibrium between unresolved tensions and soothing resolutions.

To commit the album to tape,  Yoo Doo Right  chose producer Seth Manchester ( Battles, Lightning Bolt ,  Lingua Ignota ) at Machines with Magnets (Pawtucket, RI), before turning to Amar Lal (YlangYlang, Patio, Washer) at Macro Sound (Oakland, CA) for mastering duties, poised to unearth their best work to date. The resulting 42 minutes of experimental rock found on  From The Heights Of Our Pastureland  feel like a beautiful yet sinister sonic tempest, aptly showcasing the Montrealers’ artistic resolve and eerie creativity. Highly recommended for fans of  Godspeed You! Black Emperor ,  Big|Brave  or  METZ .

From The Heights Of Our Pastureland   will be out November 8th, 2024 via Mothland on vinyl/ digital.

Tracklist 1. Spirit’s Heavy, But Not Overthrown, Part 1 2. Spirit’s Heavy, But Not Overthrown, Part 2 3. Eager Glacier 4. Ponders End 5. Lost in the Overcast 6. From the Heights of Our Pastureland

Links   Pre-save/ order:  https://orcd.co/from-the-heights-of-our-pastureland Official:  https://yoodoowrong.com Bandcamp:  https://yoodooright.bandcamp.com Facebook:  https://facebook.com/yoodoowrong     Instagram:  https://instagram.com/yoodoowrong Label:  https://mothland.com Download press assets  here

Anubis “The Unforgivable”

Artist: Anubis Title: The Unforgivable Format: LP, CD, Digital Label: Bird’s Robe Records Distribution: MGM Genre: Cinematic Progressive Rock Release Date: 20/09/2024

Australian Cinematic Progressive Rock band Anubis are back – and celebrate their twentieth anniversary with new concept album  The Unforgivable ! 

The Unforgivable  finds the band revisiting the narrative-based concept album format that characterised the seminal  230503 (2009) and  A Tower Of Silence  (2011). Says keyboardist David Eaton “ during the Covid lockdowns, Rob and I were left marooned with about two hours of multitracked jams. During that period, we were busy reworking the first two  Anub is records for remixing, watching way too many Netflix documentaries about weird religious cults and had all of these great fragments of music which we tentatively slotted together into this long 45 minute piece. It just seemed logical that all of these things would line up – and when we got together after lockdown, we showed the band what we’d done and everyone got behind the idea immediately. “

The album tells the story of a young man’s falling into – and escape from a religious cult in the American midwest known as The Legion of Angels. A dark, moody story that is told over the course of the two sides of vinyl – with one epic length piece split into ten parts.

“ It calls to mind the 230503 album, especially, to me. Lots of atmosphere, and a very clear, linear story. But it manages to tell this story in almost half the time! Like every album we’ve done, it represents a progression in our ability to make records and is rather a reaction to our last album which was much more accessible. This one really needs the time to reveal itself – but is all the more rewarding for it .”

The eighth part of the suite –  Back  –  has been edited out of the album’s flow as a single release.

David Eaton: “Back has got a big chorus with the Anubis vocal harmonies very much front and centre. Rob really channeled Adrian Belew on the lead vocal, and it works well as a stand alone track that is melodic and moving, and not too confusing lyrically out of the album’s context.”

On working with Bird’s Robe Records for the new album, David continues “ Bird’s Robe Records was our original home and we were one of the original stable of artists. Mike has been a friend of the band’s for over 15 years, and we’re thrilled to be back home and working with him for this album.” Tracklist Part I – A Legion of Angels    Part II – The Mark of Cain    Part III – Alone    Part IV – The Chains  Part V – One Last Thing    Part VI – All Because of You    Part VII – The End of the Age    Part VIII – Back    Part IX – Shadows Cloak the Gospel    Part X – The Unforgivable

Links Linktree:  https://linktr.ee/anubisaustralia Official:  https://anubismusic.com Bandcamp:  https://anubismusic.bandcamp.com Instagram:  https://instagram.com/Anubisband Facebook:  https://facebook.com/anubismusic Label:  https://birdsrobe.com   

Download press assets here

Verstärker “V”

Artist: Verstärker Title: V Format: LP, Digital Label: Finaltune Records Distribution: recordJet Genre: Postrock Release Date: 11/10/2024

In October 2024, after more than 20 years of band history,  Verstärker  will release their 5th studio album titled  V . It consists of 5 new tracks recorded live (38 min) and will be released on  Finaltune Records , label of  Collapse Under The Empire . While the songs on the predecessor  Themes & Variations  (2020) were real instrumental monoliths between post- and kraut-rock, the new songs are more compact and catchy, but still instrumental post-rock sculptures that trigger exuberant, long-lasting feelings of happiness: dynamics and melancholy, sometimes energetic and euphoric, then again wide areas and lush sound sculptures.

Three instruments, rumbling, meandering, floating basses (Alexander Gilli), bell-like hymnic, then again rough guitars (Roberto Cruccolini), unadorned, driving, decomposing, oscillating drums (Wolfgang Walter).  V  is post-rock: massively euphoric walls of sound piled up into infinite spheres with an intense, multi-faceted instrumental flow. Here,  Mogwai ‘s intensity and  Motorpsycho ‘s playfulness meet  Russian Circles ‘ anthems and  Maserati ‘s musical playfulness.

Tracklist 1. Gadd 2. Fliegender Fluss 3. Echoes in Motion 4. Elephants 5. Hazarai

Links    Linktree:  https://linktr.ee/meinverstaerker Bandcamp:  https://meinverstaerker.bandcamp.com    Instagram:  https://instagram.com/meinverstaerker Facebook:  https://facebook.com/meinverstaerker Download press assets  here

Traum “s/t”

Artist: Traum Title: s/t Format: LP, Digital Label: Tonzonen Records Distribution: Believe  Genre: Psychedelic, Acid Rock, Freakbeat Release Date: 27/09/2024

Irretrievably subscribed to the credo “born too late”,  Traum  explore the technical limits of time travel with their music, creating a naive alternative to the here and now in oscillating technicolor. The trio’s sound sparks reminiscences of the origins of  psychedelia ,  acid rock and  glam , carried by an escapist tunnel vision of decades of mind-expanding hedonism long gone.

The band’s first recordings promptly aroused the interest of the Californian, Los Angeles-based psychedelic connoisseur label  Hynpotic Bridge , which released two of  Traum ‘s songs on 7″ vinyl in early 2024, writing:  “ Traum  present an ode to the mystified daze of a Technicolor dream. Supercharged by vintage tape echoes and bursts of fuzz guitar, their songs are made to spiral deep into the double-helix matrix of multi-mirrored minds.”

The renowned English music magazine Shindig! wrote: “ German three-piece Traum’s inaugural release leaves no doubt as to where their hearts lie. (…) The vocals are dreamy and distant; the guitars snaky and sinuous .” and drew numerous comparisons to obscure representatives of psychedelic pop from the late 1960s in Great Britain.

In spring 2024, the band went back into their own studio to record four more tracks, which were mixed completely analogue by frontman Helen Lichter and seamlessly continue the vibe of the first release with their purist, dreamy sound. This bundle of songs will be published by the Tonzonen Records label in September 2024 in the form of an EP. It will be released as a limited edition 12″ record on white vinyl as well as digitally and via streaming. The band comments: “ We are delighted to have found a label in Tonzonen that understands, supports and appreciates our music and is willing to make it accessible to a wider audience. The artistic freedom that we are granted here is not necessarily a given and we really appreciate that. “

As far as their future is concerned,  Traum  are relaxed: “ We are sitting on a huge mountain of musical ideas and demos with which, if you were to break them down to the best ones, you could fill several more records. In this respect, however, we don’t feel the pressure to deliver and are taking a relaxed approach in the name of quality and inner peace. The world is already turning fast enough and hardly anyone can complain about a lack of music these days. ” Nevertheless, it has been announced that further recordings are already being planned: “ After this EP, our priority is to present  Traum  live for the first time. Experience has shown each of us that the drive and tightness of a few live shows makes it easier to play in the studio. We would like to fully capture as much of this energy as possible for our next release in early 2025. “

The self-titled EP will be released on 27 September 2024 by Tonzonen Records, distributed by Believe.

Tracklist 1. Shoeshine 2. Tuesday’s Lover  3. Electric Blue  4. Illusion

Links Official:  https://traum.band Bandcamp:  https://traumtraum.bandcamp.com   Instagram:  https://instagram.com/traum.official Label:  https://www.tonzonen.de    Download press assets here

Mt. Oriander/ Amid The Old Wounds Split 7″

Artist: Mt. Oriander/ Amid The Old Wounds  Title: s/t Format: Split 7″ EP Labels: Time As A Color (GER), Sncl (UK), Shove Records (IT), Friendly Otter (USA), Civic Duty (AUS), New Knee Records (USA), Rufen Publishings (JAP), Slow Down Records (NO), Count Your Lucky Stars (USA) Distribution: Sonic Rendezvous (EU) Genre: Emo/ Indierock/ Singer-Songwriter Release Date: 19/09/2024

I’m not going to waltz around facts here, this is a sad record, and once  Mt. Oriander’s  sole but lengthy song  You Chip Away Everything That Isn’t An Elephant  starts twinkling multiple clean guitars through your speakers or pods, you will be swept away by its melancholy. Before you know it  Keith Latinen , well known from his former, genre defining band  Empire! Empire!  (I Was a Lonely Estate) jumps head first into an instrumental, soaring upbeat part of  Mineral-esque  or  Penfold-ish  intensity that sets the stage for a partly twinkly, partly head-nodding and beautifully told story of childhood nostalgia, as if  JD Salinger  and  Douglas Coupland  had a love child, a short story, so vivid, you can almost grasp it. The seemingly everyday setting lulls you in, only to break your heart with its final sentence, fully revealing this is about more than nostalgia.

On the flipside  Daniel Becker  takes over the narrative of loss and abandonment and turns loss into letting go, and nostalgia into sad acceptance. His first song  Field Of View  is a brooding, slow paced testimony of a man who is beginning to make peace with ending a fight that can’t be won, for the sake of staying healthy, staying alive, but aware of what made him who he is, for better or worse. The short sophomore song  Hypothetically Speaking I  serves as a passage into  Amid The Old Wounds ’ contribution to last year’s split 7” with Australia’s  No Action , picking up sentiments of not being accepted and expressing awareness that the life settings we grow up with are ok – potentially required – to be questioned, in order to provide peace for your inner child. This may not be your perfect soundtrack to this summer’s open window ride to the beach, but let’s be honest, life isn’t always a ride to the beach, is it? Within many of us lies sadness, lies anger, and very often these are symptoms of trauma response caused by loss or negligence, among others. So if you find yourself dealing with sadness, this record might provide one thought that could be most instrumental in getting through: You are not alone. 

Rounded off with remarkably detailed artwork, specifically handdrawn by Tommy Lester aka Diddums Doodles (most prominently known for his work for  Chalk Hands ) this 7“ will be available summer 2024 on two vinyl variants (deep blue sea and shallow waters), housed in sand-colored paper with a shaped sticker on front, including a lyrics insert and download code.

Tracklist 1. You Chip Away Everything That Isn’t An Elephant 2. Field Of View 3. Hypothetically Speaking I Links    Order:  https://timeasacolor.com/product/mt-oriander-amid-the-old-wounds-split-7 Mt. Oriander Linktree:  https://linktr.ee/mtoriander Mt. Oriander Bandcamp:  https://mtoriander.bandcamp.com Mt. Oriander Instagram:  https://instagram.com/mtoriander Mt. Oriander Facebook:  https://facebook.com/MtOriander Amid The Old Wounds Website:  https://timeasacolor.com/amidtheoldwounds Amid The Old Wounds Instagram:  https://instagram.com/amidtheoldwounds Amid The Old Wounds Facebook:  https://facebook.com/amidtheoldwounds Label Bandcamp:  https://timeasacolor.bandcamp.com

Black Aleph “Apsides”

Artist: Black Aleph Title: Apsides  Format: LP, Digital Label: Art As Carthasis, dunk!records Genre: Post-Metal/ Doom Release Date: 25/10/2024

Black Aleph  are a Sydney/Melbourne based experimental ensemble featuring Lachlan Dale (guitar/effects), Peter Hollo (cello/effects) and Timothy Johannessen (percussion).

On their debut album, the trio draw inspiration from diverse sources ranging from post-metal to middle-eastern modal music.  Apsides  features both composed and improvised pieces that involve the players layering live-loops, ritualistic-beats and doom-metal style musical variations that progressively unfold and build in intensity throughout the performance.

Black Aleph ’s style has been compared to  Justin Broderick ,  Neurosis , and  Godspeed You! Black Emperor  – though there is a borderline spiritual quality to the music that comes from the unique instrumentation: guitar, cello, and Iranian daf drum.

The sound is tectonic – apt for a record centred around concepts of orbital mechanics, like the notion of ‘apsis’, which is the points of extreme and least distance between a celestial and a primary body (sun-earth-moon) in an elliptical orbit. A second theme concerns the relationship between light and dark, or more specifically the difference between bodies that emit versus those that merely reflect light – and in-between those that obstruct it.

Apsides  was recorded over a number of years by Tim Carr ( We Lost The Sea ) and mastered by  Mell Dettmer  (Earth, Sunn O))). Jessika Kenney lends her sublime voice to a number of tracks, as does Natalya Bing her violin.

The album cover artwork was created by Melbourne-based artist Darren Tanny Tan, whose process involves ‘destroying’ a solid surface using various materials and techniques, while the single artwork was produced by the Syrian artist Salah Alkhal.

Black Aleph ‘s debut album  Apsides   is out 25 October on  Art As Catharsis  and  dunk!records .

Tracklist 1. Descent 2. Ambit I (Ascension) 3. Ambit II (Aphelion) 4. Separation 5. Precession 6. Return 7. Occultation

Links    Bandcamp:  https://blackaleph.bandcamp.com Facebook:  https://facebook.com/blackaleph Art As Catharsis:  http://www.artascatharsis.com Download press assets here

Yomi Ship “Feast Eternal”

Artist: Yomi Ship Title: Feast Eternal Format: LP, CD, Digital Label: self-released Genre: Experimental, Art-Rock/ Psych Release Date: 12/07/2024

Yomi Ship are an instrumental psychedelic/progressive rock trio from Perth, Western Australia.

Drawing influences from experimental rock giants The Mars Volta and King Crimson , as well as the sounds of psychedelic space rock from early Pink Floyd , Yomi Ship have forged their own blend of experimental art rock, delivering soundscapes filled with unorthodox structures and rhythms, anchoring bass and dreamy melodies that are full of surprises.

I ntroducing  Feast Eternal   by Yomi Ship : a transcendent journey through ethereal landscapes and intricate soundscapes. Hailing from the vibrant music scene of Perth, Western Australia, Yomi Ship emerges with their debut album, a sonic odyssey that defies conventional boundaries.

Comprising Jarred Osborne on guitar, Jade Champion on bass, and Nick Osborne on drums, Yomi Ship crafts an ethereal blend of instrumental prog rock infused with elements of psychedelic, math, and post-rock. Their music weaves a tapestry of complexity, offering listeners an immersive experience from start to finish.

Feast Eternal  is the culmination of Yomi Ship ‘s evolution since their inception in 2016. From ambient and melodic passages to powerful prog rock sections filled with unusual time signatures and polyrhythms, each track invites exploration into realms both familiar and otherworldly.

Inspired by Japanese folklore, the album delves into the theme of transitioning to the afterlife, drawing parallels to the mythical realm of Yomi. Here, spirits linger after partaking in the feast of Yomi ‘s hearth, unable to return to the land they came from.

With  Feast Eternal , Yomi Ship invites you on a journey, intended to be consumed from start to finish as they traverse through the land of Yomi and encounter the inhabitants that live within. Tracklist 1. Intro    2. The Izoku    3. Watch Out For The Water    4. Oni    5. Interlude I; Feast    6. Ronin’s Lament 7. Of Agartha    8. Premonitions    9. Interlude II; Eternal    10. Obakes Grotto    11. Too Many Have Vanished Into These Woods (feat Chip Hazard)    12. Night Parade Yomi Ship to Join Plini on “Mirage Summer Tour 2024” across Europe Thursday, August 1, 2024 – Petit Bain (Paris, France) Saturday, August 3, 2024 – LA RAYONNE (Villeurbanne, France) Monday, August 5, 2024 – Wizemann Club (Stuttgart, Germany) Tuesday, August 6, 2024 – Das Bett (Frankfurt, Germany) Wednesday, August 7, 2024 – Dynamo (Zurich, Switzerland) Friday, August 9, 2024 – Hype Park (Krakow, Poland) Tuesday, August 13, 2024 – Musikzentrum (Hannover, Germany) Wednesday, August 14, 2024 – Kulttempel (Oberhausen, Germany) — Friday, August 16, 2024 – ArcTanGent (Fernhill Farm, Bristol, UK)

Links Official:  https://yomiship.com Bandcamp:  https://yomiship.bandcamp.com     Instagram:  https://instagram.com/yomiship Facebook:  https://facebook.com/yomiship Spotify:  https://open.spotify.com/intl-de/artist/15tGSRQIcaaUae1tuZsuL5 Label:  https://birdsrobe.com    Download press assets here

Vibravoid “We Cannot Awake”

Artist: Vibravoid  Title: We Cannot Awake Format: LP, Digital Label: Tonzonen Records Distribution: Believe International Genre: Psychedelic Rock Release Date: 23/08/2024

Vibravoid  are the big bang of German neo-kraut and psychedelic rock. 

Vibravoid  has released 22 studio albums, countless live albums, singles and EPs over the last 35 years that reached top positions.  Live At Finkenbach 2015  made it to No. 2 on the official vinyl sales charts,  Live At Rheinkaut Festival  stayed for several weeks in the Top 20 of the CD sales charts and climbed into the top 10.

Psych activist  Dr. Koch  founded the Light Show Society Düsseldorf back in 1988. Since the only thing missing was a suitable band for the light shows, the  Vibravoid  collective was founded in 1990. Already in the early 1990s , Vibravoid  emerged as the most influential new group from Düsseldorf. For example, in the early phase of stoner metal and the resulting misuse of the term “psychedelic”,  Vibravoid  was invited to many stoner festivals. To the astonishment of the audience,  Vibravoid  presented songs by Syd Barrett’s  Pink Floyd ,  Silver Apples, CAN  or the  Beatles , interpreted as songs by  Vibravoid  because the style hardly differed. Likewise, the guests had never seen a “psychedelic light show” in the style of the 1960s to match the music – today all a standard in this genre.

As children of the flower power generation,  Vibravoid  only learned from the first wave of psychedelic and kraut rock, because what is marketed today as “psych and kraut rock” didn’t exist back then and had to be invented by bands like  Vibravoid .

New album  We Cannot Awake  is the perfect soundtrack for THC legalization and  Vibravoid  is the essence of Düsseldorf genetics. They create musical fever dreamscapes that are stronger than LSD.  We Cannot Awake  is the  In A Gadda Da Vida  of Generation X.  Vibravoid  haven’t released a real longtrack for several records, but now the band is making up for this and adding a few more hits.

With   Get To You ,  Vibravoid  deliver the psychedelic earworm for every large-space disco. Grooving pop music with hymenic hooks meets the effects wall of the 1960s. The ideal music for any highway.

The band’s love of  The Byrds  is obvious from tracks like  Nothing Is Wrong  or  A Comment On The Current Times  – but the combination with Düsseldorf’s “Motorik Sound” is a completely new level on which psychedelic music can work.  The End Of The Game  still shows  Vibravoid  as the German masters of the fuzz effect. Ultra psychedelic guitar sounds and echo effects create a maelstrom that pulls the listener into the spell of the complex rhythm.  Vibravoid are not stingy with creative ideas, but still shake themselves out of their sleeves after 35!

Side A closes with  On Empty Streets  and paints a dystopian picture, yet  Vibravoid  manage to crank up the pop factor so high that the riffs almost burn themselves into your consciousness… expanding it. All the sound effects are perfectly embedded, you hardly notice that this is actually highly experimental music in the sense of the Düsseldorf school.

We Cannot Awake  completely fills side B with over 20 minutes. Musically, the listener is in for a very special experience. Vibravoid fuse their Düsseldorf sound with the year 2024 at the highest level.  We Cannot Awake  is a journey into the abysses of human existence and other depths of the outer cosmos. Driving beats and interstellar frequencies channel the primal fear of the unknown, because this music is dangerous. Sonic carpets of strychnine and psylocibin. Magical mushrooms. Time is running out. We cannot awaken!

Tracklist 1. Get To You    2. Nothing Is Wrong    3. The End Of The Game    4. A Comment Of The Current Times 5. On Empty Streets    6. We Cannot Awake 

Links Facebook:  https://facebook.com/vibravoidofficial YouTube:  https://youtube.com/@VibravoidOfficial Spotify:  https://open.spotify.com/artist/5qXFseejEDd3JvZqap38os?si=p80o7SP4ReKjHnvYIl9YPw Label:  https://www.tonzonen.de

Lars Bech Pilgaard “Folklórica”

Artist: Lars Bech Pilgaard Title: Folklórica Format: 2xLP (w/ Pantone + Obi-strip), Digital Label: Momeatdad Records Genre: Experimental/ Folk Release Date: 30/08/2024

On August 30, 2024,  Lars Bech Pilgaard  will release the solo album  Folklórica  on momeatdad records. The release is celebrated with a tour with performances across the country. At the concerts,  Lars Bech Pilgaard  is accompanied by the visual designer  Piotr Winievicz , who will design the concert space in a new format every night and create the framework for a sensual, intimate experience for the ears and eyes.

Folklórica  will release on double vinyl with artwork by  Andreas Korsgaard . The record will also be released digitally and is flanked by a documentary film created by  Pilgaard ‘s long-term visual collaborator  Mathias Winther Kjeldsen . The film depicts the work with the music in the vulnerable creation process, where the string instruments are presented as soulful soulmates who tell the story.

Documentation from the studio and staging of improvisations in nature create magical bonds between the instruments, the music and the spirit. The poetic images document a sensuality from music’s embryonic stage, where the camera’s gaze for the creative artist’s inner world becomes part of the narrative of the work.

The album falls into four chapters on the vinyl’s four sides and consists of bowed guitar, prepared guitar, banjo and electric guitar. The music flows seamlessly between delicate bow strokes, acoustic, prepared guitars in polyrhythmic whirlwinds, primitive blues drone and ritualistic banjo serenades. Organ-sounding ambient electric guitar and bagpipe-inspired fuzz eruptions also fill the grooves with sound.

On  Folklórica ,  Bech Pilgaard ‘s fascination and attraction to  folk music  is staged, which, like a vein, becomes a crossroad for the meeting between the album’s abstract expression and concrete flow, and creates an ambitious masterpiece where the potential of string instruments is transformed through dialogue with  deep folk  musical traditions. The album will be an archive of experienced communication between people, nature and spirituality and an investigation of the power of music as a catalyst for the common human. As a reflection on the poetic abilities of music and folklore as a medium for new encounters between people, traditions and experiences.

Lars Bech Pilgaard  has made a name for himself for a decade with his energetic and always sonically challenging guitar playing. Whether it’s as a sideman with  Bisse ,  Anja Jacobsen ,  Marcela Lucatelli ,  Maria Faust ,  Mija Milovic  or in some of  Pilgaard ‘s own ensembles  SVIN ,  Klimaforandringer , or  Slowburn , you’re never in doubt about the guitar’s owner.  Lars Bech PIlgaard ‘s music is in the borderland between noise, sacral nerve and organic improvisation, but  Pilgaard ‘s musical expression is in its basic form changeable and he cultivates unconditional space with room for the absolutely abstract and the perversely concrete. In December 2023, Pilgaard received two  DMA jazz awards  and in 2019 was nominated for a  Danish Music Critics  awards as musician of the year.

Tracklist A1: Savn    A2: K    A3: Ek kveð     A4: La Luz    B1: Dancers    B2: Varia    B3: Dwellings    B4: Ancestralism B5: 11°11′N 4°17′W    C1: Source of Life    D1: Land of Fire, Winds of Smoke

Live 16/9: Release concert at Metronomen, Copenhagen (DK) 19/9: Radar, Aarhus, (DK) 20/9: TBA, Flensburg (DE) 21/9: Generator, Ringkøbing (DK) 24/9: Store Sal, Southern Danish Music Conservatory, Esbjerg (DK) Links    Instagram:  https://instagram.com/lars_bech_pilgaard Order:  https://momeatdadrecords.bandcamp.com/album/folkl-rica Facebook:  https://facebook.com/momeatdadrecords Download press assets here

Collapse Under The Empire “Non-Album Singles & Bonus Tracks”

Artist: Collapse Under The Empire Title: Non-Album Singles & Bonus Tracks Format: CD, Digital Label: Finaltune Records Distribution: Broken Silence Genre: Post-Rock Release Date: 09/08/2024

Collapse Under The Empire  releases   Non-Album Singles & Bonus Tracks  on  August 9th, 2024  from their massive 12x LP Box Set  WORKS .

For the past 15 years Chris Burda and Martin Grimm have been presenting a genre mix of post-rock, soundtrack, shoegazing, ambient to ice-cold electronica. Since 2008 they have released an impressive number of studio albums, EPs and various singles to date.

Their music is now used in Hollywood trailers, such as Brightburn by  James Gunn  and in many documentaries. It’s also the perfect music to get better focus – whether being creative, working, or doing sports. That’s why they have been popular in the post-rock scene and other genres for so many years.

The previously unreleased tracks on  Non-Album Singles & Bonus Tracks will be available on CD on August 9, 2024. Physically, it can only be purchased on the band website at https://collapseundertheempire.com as part of the ultimate 11x CD Bundle or 12x LP Box Set titled  WORKS . 

WORKS  is a very unique vinyl 12x LP Box Set, limited to just 200 copies. It has 12 vinyls with their complete discography including 114 songs and bonus features. Their largest LP box set ever.  WORKS  is also available on CD, including all releases from 2008 to 2024 on 11 CDs.

Tracklist 1. Anthem of 44    2. Low    3. Anomaly    4. Abstracted    5. Beyond Us    6. Sacrifice (single version)    7. Section I    8. Drowning    9. Diving into Deep    10. Dragonfly    11. Everything Disappears    12. Arise (unreleased) 13. Echos (unreleased)    14. Lost in Space (unreleased)    15. In Amber (unreleased) Links  12x LP Box Set WORKS: https://collapseundertheempire.com/works 11x CD Bundle WORKS: https://collapseundertheempire.com/shop/-p590274229 Video “Making of WORKS”: https://youtu.be/KQWFMc6eEto Offical:  https://collapseundertheempire.com Facebook:  https://facebook.com/collapseundertheempire Youtube:  https://youtube.com/user/collapseempire Label:  https://finaltune.com Download press assets here

5-year experimental music documentary project comes to a close

For electronic musician Nathan N. Cook, abstract soundscapes, nature recordings interwoven with voices, and harsh noises, aren’t just intellectual experiments in audio editing. Instead, he finds them places of human connection.

Five years ago, Cook decided to mix those elements into recordings that capture a community of local musicians — and to share that connection with others. He launched the Rhizomatic St. Louis series, an annual album release of 10 distinct, avant-garde and experimental musicians.

More than 50 musicians have contributed to the project, which is released on cassette in boutique editions of 100 copies. But after years of soliciting bands, gathering recordings and producing, Cook is planning to retire the project.

“It’s been an organic process, and because of that, I would not want to force it and continue to do it just because I’ve been doing it every year,” he said.

The Rhizomatic series has left its imprint on St. Louis, from its distinct sounds to album cover art created by local musician Jeremy Kannape ll. Each release has been marked by a performance rolled into “Bruxism,” Cook’s regular concert series at the Schlafly Tap Room. He said the work has been an intriguing ride.

“I’m enjoying experiencing what all the artists have to offer, being part of the community,” he said. “If you’re doing something you truly love it doesn’t seem like work.”

Cook sees the series as a personal art project and audio documentary that captures a new group of performers as it evolves.

“It’s really a measure against self-isolation and a way to foster the community and to let people know that this incredibly creative, interesting work is there,” he said. “It’s not something that’s necessarily a members-only type of thing.”

Contributors to the project have included Charles “Bobo,” Shaw , a founding member of The Black Artists Group, an influential 1970s art collective; Van McElwee , an internationally acclaimed video artist and Guggenheim Fellow; electronic music composer Travis Bursik ; and saxophonist Dave Stone .

Although the experimental music community is ever-changing and regularly produces new musicians, Cook said the project must come to a close. Having captured the contemporary sound community in recent years, he wants to wind down before he’s forced to rely too much on established performers.

But even though there may no longer be a concerted effort to preserve and encapsulate the music, the creative work isn’t disappearing. Cook will continue his Bruxism series at the Schlafly. Kannapell is still running the New Music Circle , another boundary-pushing local musical organization that focuses on presenting live events.

Joseph Hess’ Wrong Division blog catalogs and previews live experimental performances, releases and additional media produced from the intersection of experimental, punk and DIY music.

The Rhizomatic St. Louis 5 release show will take place March 30 at Schlafly Tap Room. 

Follow Willis on Twitter:  @WillisRArnold

17 Best Experimental Songs Of All Time

When we think of standout experimental songs, most people understandably think of the sixties.

It was a time of tremendous change, and that got reflected in the music. But music is constantly evolving, and experimental songs come in all shapes and sizes. Here are some of the best experimental songs of all time.

Shine a Light and Let it Loose by The Rolling Stones

Song Year: 1972

The Rolling Stones were notorious for musical experimentation. They are best known for inventing the folk-rock sound, but even so, no two songs are the same.

‘Shine a Light’ stands out as one of the best experimental songs ever, because it’s a peculiar blend of Gospel traditions and rock music.

It’s an unlikely combination, but the experiment pays off. The result is an emotive and meaningful song that listeners around the world connected with immediately.

Strawberry Fields Forever by The Beatles

Song Year: 1967

Another great experimental songs comes from the Liverpudlian rock group The Beatles.

As They grew in popularity, The Beatles increasingly began experimenting with musical convention and pushing the boundaries of harmony. ‘Strawberry Fields Forever’ is an excellent example.

The band’s producer famously combined two separate takes. One is slightly slower than normal, and the other is sped up. The result was a truly unique listening experience.

A combination of eclectic instruments heightens the song's sense of atypicality. Keep your ears tuned to hear:

• Swarmandal (Indian harp)

Chameleon by Herbie Hancock

Song Year: 1962

Herbie Hancock is a jazz musician who played an instrumental role in developing jazz fusion .

Since jazz is one of those genres perpetually shedding its skin and donning a new one, that claim may not sound as remarkable as it is.

Hancock produced ‘Chameleon’ while struggling to create a new sound for himself. To reinvigorate his creative energy, he took inspiration from funk music.

‘Chameleon’ is immediately recognizable to jazz aficionados because of its idiomatic baseline. The blend of synth and other instruments is unlike anything previously recorded.

To say it’s one of the best experimental jazz songs of all time is to understate its impact on the musical landscape.

Interstellar Overdrive by Pink Floyd

Pink Floyd’s ‘Interstellar Overdrive’ was very different from other music at the time. It’s an instrumental composition that helped bring Pink Floyd into the popular consciousness.

The song’s genesis occurred when the band manager tried and failed to hum a popular melody. Several of the musicians mucked about with their instruments to help him out, and the unlikely episode laid the foundation of ‘Interstellar Overdrive.’

Like other experimental songs on this list, there’s a heavy emphasis on chromaticism and atypical chord progressions that contribute to the music’s unusual sound.

Five Years by Bjork

Song Year: 1997

Icelandic singer Bjork has an astonishingly versatile voice. In ‘Five Years,’ she combines it with distorted drums to fascinating effect.

The result is one of the best experimental songs ever. Bjork’s voice dips ever-lower down the scale, and the drums become increasingly distorted. The result is an undeniably fascinating study in effective editing and composition.

V-2 Schneider by David Bowie

Song Year: 1977

 ‘V-2 Schneider’ is one of the pieces Bowie composed while in Berlin. It’s an artistic period many Bowie fans view as one ongoing experiment, and that’s evident in ‘V-2 Schneider.’

It features the unlikely combination of Bowie’s imperfect saxophone artistry, a janty bassline, and disco-style drums. It’s a combination that shouldn’t work but does.

Arguably, Bowie has done more overtly experimental work. But one of the reasons ‘V-2 Schneider’ ranks as one of the best experimental songs of all time is because it sounds like the kind of musical accident but succeeded against tremendous odds.

Torches by Youth Choir of Great Briain

Song Year: 2001

So far, our discussion of the best experimental songs of all time explores overtly experimental genres like rock or jazz.

But no genre is static. Sir Karl Jenkins' ‘The Armed Man’ is a spectacular and moving example of how even classical music can be experimental. It takes the conventional movements of a Mass setting and blends them with:

• Medieval folk songs
• Muslim call to prayer
• Sanskrit mythology

The ninth movement of ‘The Armed Man’ shows Jenkins at his experimental best. It’s a violent indictment of wartime violence that uses spikey chromaticism, percussion, and vocal sliding to evoke the devastation of war.

It segues immediately into the much gentler Agnus Dei, which, atypically, precedes the Benedictus. But while the mass might be experimental, its effect on audiences is undeniable. It’s powerful, evocative, and designed to make you weep.

Passacaglia by Herbert Kegel, Theo Adam and Konrad Rupf

Song Year: 2013

Another of the best examples of experimental classical music comes from ‘Wozzeck,’ by Alban Berg.

Berg wrote his opera based on the 12-tone system. The result is an almost entirely atonal composition that plays with classical conventions. Singers sing symphonies, sonatas, and rhapsodies.

Here, the singers sing a passacaglia. Like other forms mentioned, this would typically be performed by an orchestra. It’s also distinctive for its dissonance and atonality.

For that reason, many find Berg hard to listen to. But that’s no reason to overlook genius.

Jim Dean of Indiana by Phil Ochs

Song Year: 1969

Folk artist Phil Ochs was all about experimenting with music and pushing its boundaries. His songs are famous for their biting satire.

But in ‘Jim Dean of Indiana,’ Ochs also pushes the boundaries of folk music convention.

The imagery is unrelentingly grim, and even the title of the album ‘Greatest Hits’ is a tongue-in-cheek experiment. Ochs had no hits to speak of, and he knew it. But his determination to expose the grey underbelly of the much-mythologized Americana gives his songs a staying power their composer never anticipated.

Sister Ray by The Velvet Underground

Song Year: 1968

The Velvet Underground was always unconventional and never more so than in ‘Sister Ray.’

Among other things, it features:

The result is one of the best experimental songs of all time. It redefined garage jazz and earned the Velvet Underground their reputation as unapologetically confrontational.

It’s a busy track that stands out for being almost entirely improvisational.

Only A Northern Song by The Beatles

‘Only A Northern Song’ was so unusual, even by Beatles standards, that it didn’t debut until two years after the band recorded it.

‘Only a Northern Song’ begins slowly but soon picks up speed. It’s helped by the harsh percussion and looping trumpets that give it a distinctive tonality. It’s a sound meant to sound as abrasive as the accent the title playfully mocks.

2000 Lightyears from Home by The Rolling Stones

As experimentations go, The Rolling Stones' ‘2000 Lightyears from Home’ is an exercise in the nightmarish. That’s not to deride it. Instead, it’s a creative exploration of a dystopian soundscape.

Listen carefully to the instrumentation. A mellotron creates a futuristic sound, while some of the instrumentation anticipates R2D2 ten years before Lucas conceived his epic space opera.

Milestones by Miles Davis

Song Year: 1958

In ‘Milestones,’ Miles Davis experimented with the concept of modal jazz. He eschewed conventional harmony in favor of the modal system.

That may not sound experimental, but before Davis did it, modal jazz didn’t exist. For that reason alone, ‘Miles,’ later renamed ‘Milestones,’ ranks as one of the best experimental songs of all time.

Reptile Smile by Th’ Faith Healers

Song Year: 1992

Th’ Faith Healers didn’t have a long career but the work they produced was incontrovertibly experimental. ‘Reptile Smile’ is a textbook example.

Part of ‘Reptile Smile’s’ appeal is that it's danceable. Whatever else is going on, it maintains a steady, almost monotonous baseline. But it’s combined with creative vocal lines and innovative lyrics, producing one of the best experimental songs of the decade.

Geiger Counter by Kraftwerk

Song Year: 1975

‘Geiger Counter’ takes its name from the sound it creates.

Part of the experiment on display with this piece is Kraftwerk’s efforts to mimic a Geiger counter.

But there’s more than experimentation at play here. The song flows naturally into ‘Radioactivity.’ It’s not hard to see that they are more than musically innovative. They're making a statement about nuclear armament.

Effective and to the point, it’s an excellent example of one of the best experimental songs of all time.

Malo by Tim Gasiorek

Song Year: 2020

These days we don’t always think of Benjamin Britten and experimental music in the same sentence. That’s a testament to how music has evolved since Britten started composing.

At the time, though, Britten broke many of the conventional rules. His operas, ‘Albert Herring’ and ‘Turn of the Screw’ are particularly striking examples.

‘Malo’ is sung by the boy tenor playing young Miles in ‘Turn of the Screw,’ and it’s an excellent example of how Britten was reshaping musical convention.

As you listen, pay attention to how raw and exposed it is. It’s also prominently chromatic and often harmonically dissonant.

That’s appropriate because ‘Turn of the Screw’ engages with themes of pedophilia and to some degree, homophobia. But for Britten’s contemporary listener, it made for some uncomfortable listening.

Lifetime by Yves Tumor

Song Year: 2018

Yves Tumor is another artist who never stopped experimenting with music.

‘Lifetime’ is an excellent example. It blends Tumor’s tremendous vocal capability with an eerie piano line and offsets both against a propulsive R&B drum beat.

Tumor wraps the song up with a blast from the horn section, an unlikely but effective choice.

Top Experimental Songs Ever, Final Thoughts

Everyone remembers the 1960s as a time of musical innovation. But when talking about the best experimental songs of all time, it’s important to remember music is never static.

If it was, it would lose its power and efficacy with listeners. Consequently, the best experimental songs of all timespan a variety of genres. They’re jazzy, classical, or even hard rock. What they share is a strong sense of purpose and an ability to move their audience.

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20 Best Experimental Music Podcasts

Experimental music podcasts.

Here are 20 Best Experimental Music Podcasts worth listening to in 2024

1. Dark Ambient Atmospheres

2. Tabs Out Cassette Podcast

3. Improbable Confetti

4. Crucial Listening

5. Free Form Freakout

6. Ambient Atomic Orbitals

7. Sonic Encounters

8. Mid-Valley Mutations

9. Soundologia

10. The Process

11. El Wud Experimental Ambient Project

12. Decipher This!

13. The Montana Musical Experiments Podcast

15. Ribosome Radio

16. Double Bummer

17. unexpected bowtie

18. Crank Playthings

• Experimental Music Podcasters

• Dark Ambient Atmospheres
• Tabs Out Cassette Podcast
• Improbable Confetti
• Crucial Listening
• Free Form Freakout
• Ambient Atomic Orbitals
• Sonic Encounters
• Mid-Valley Mutations
• Soundologia
• The Process
• El Wud Experimental Ambient Project
• Decipher This!
• The Montana Musical Experiments Podcast
• Ribosome Radio
• Double Bummer
• unexpected bowtie
• Crank Playthings

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What is chrome music lab.

Chrome Music Lab is a website that makes learning music more accessible through fun, hands-on experiments.

What can it be used for?

Many teachers have been using Chrome Music Lab as a tool in their classrooms to explore music and its connections to science , math , art , and more. They’ve been combining it with dance and live instruments .

Can I use it to make my own songs?

Yes. Check out the Song Maker experiment, which lets you make and share your own songs.

Do I need to make an account?

Nope. Just open any experiment and start playing.

How were these built?

All our experiments are all built with freely accessible web technology such as Web Audio API , WebMIDI , Tone.js , and more. These tools make it easier for coders to build new interactive music experiences. You can get the open-source code to lots of these experiments here on Github .

What devices do these work on?

You can play with these experiments across devices – phones, tablets, laptops – just by opening the site on a web browser such as Chrome .

What's next for Chrome Music Lab?

We always get inspired by new, unexpected ways that people use these experiments. If you’d like to share something with us, post it with #chromemusiclab or drop us a line .

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