Experimental Electronic Music
Listening to Stasis’ output from the 1990s, Quondam Sequences inhabits a different space. The earthy tones that characterize Pickton’s sound are present, but they are not central. Instead, this three tracker explores a shifting focus where new ideas and instruments begin to merge.
It’s a treacherous drum’n bass maze to navigate—where braindance, extremely saturated beats, low-end breaks, and explosive rhythms collide with the might of a fully-loaded semi truck.
Rather skeletal in nature, Polyrhythmic Electronica is mainly dialed in on the glitched out percussion from classic drum machines that sit comfortably atop squelchy synth bass tracks—best enjoyed on a night time drive through the city.
For this renaissance name, the style has changed: Steady 70/140BPM grime beats now meet IDM and evocative breaks.
The Sacred Grove is a kaleidoscope of impacting sounds and shapes that combines abstract, dub, and 2-step structures.
The end product is a potent jumble of industrial goliaths and saturated glitch entangled in a web of modular mayhem.
Often paralleled among artists such as Richard Devine, Xanopticon, and Qebrus, the Chicago native tilts sound forms into a microcosm of glitch and mechanical gaps, exposing what is arguably the pinnacle of his discography.
An album brimming with maintained malice, a malice that rails against automaton acceptance and the collective rot that has set in. A rubber faced prophet who throws two fingers into the air and lets his beats fly.
