Experimental Electronic Music
Listening, I want the big fat flakes to fall from these dense ambient envelopes and rippling contours. Yet like the snow, these flakes of sound don’t fall, they just hover over the listener with a sense of unknowing dread. Moody isn’t even the half of it.
We don’t have enough Dada in this world of too much data. Something is needed to break-through the over-curated simulacrum that is the online world in order to let in a bit of non-artificial light. One way to make a break is through the deliberate cultivation of the glitch.
The emotional resonances of this album would seem to be marred by writing a review that cannot, by its very nature, encompass the fluxing changes of musical flow and depth captured on 13. Just listen to it and be swept into a world that’s always changing, fates of people and nations rising and falling. This is something we should be unconcerned about, and instead offer our trust, care and love back to the world.
As with every trip into outer and inner places, there is much to ruminate on here after the return home. Further sessions haven’t proved to exhaust what is opened up here, but have only served to expose the many doors along the cobwebbed corridor where one can be drawn into further phantasmal realms.
This suite equally transports me into the gravity fields of swiftly tilting orbits, recalling the fun and excitement of the new worlds our old futures were supposed to have delivered us to by now.
Sounds puncture space, and things float to the surface. It’s just another ordinary day for being human and listening to music when the smallest detail might make the biggest waves.
The four fields of noise on this album connect different points in deep time to an essential temporal unity in a carnival of whirling chaos whose sound is as powerful as any cyclone or vortex. It can suck you in, and through its portal, transport your mind into another world of consciousness.
America’s Greatest Noise: About RRRecords, Emil Beaulieau, and the True Sound of Love by Frans Da Waard (Korm Plastics). The focus is centered on the noise scene in the United States, as might be expected for a book about America’s greatest living noise artist.
Gentle layers of just a few ingredients are added to other related elements, augmenting each other to showcase a natural magic. These are dreamscapes for rest and recuperation, and I don’t see any error or wrongdoing in them at all.
![Allmanna Town :: 1911 EP (Self Released) — [concise]](https://igloomag.com/wp/wp-content/uploads/2025/03/allmannatown-1911_feat2-75x75.jpg)
