In this paper, the author notes that the interest in 'digital music' is beginning to wane as we enter the post-digital phase. In addressing this shift he explores the artistic, cultural and social impact of new interfaces for musical expression in the field of live electronics. He discusses the recent evolution of performance practices that question the binary and corporate digital world through an emerging post-digital aesthetic, introducing terms such as 'dirty electronics' and 'punktronoics' - DIY electronic instruments made from junk - with a particular focus on the modularity and portability of this DIY approach.