Yeah, I agree that there isn’t too much of this in electronic music. And in many cases it’s often */4 type odd meters, which can be interesting, but not too engaging.
Having come up playing in lots of math-y bands, I love the sound of well structured */16 bars in the mix of other meters, particularly when they aren’t “remainder” odd meters (meaning 17/16 not being 4/4 + 1/16, and 15/16 not being 3/4 + 3/16).
I’ve not listened for a ton of this, but the closest thing to this, for me, is the ‘in between’ beats part of Aphex Twin stuff, in the sense that things not only drop the 4/4-ness, but they also drop the grid. I presume this is because the workflow literally pushes it outside of a DAW (or sequencer) grid for those sections, but you can hear the subdivision disappear too, which for my ears leans towards a more creative use of time manipulation.
Where odd meters mean having a 17/16 followed by a 3/8 (at a different tempo), with a 1second swell, going back to the 17/16, only now in groups if 5 16ths that cross the bar, etc…
An elastic odd-meterness.
Not electronic, but I find this kind of time manipulation much more interesting that “straight” time stuff (ala Tool/Sting (which I did grow up enjoying as well)):