Experimental Electronic Music
The homage to epic and neo-mythological science fiction novels from classic-era is implicitly brought up to the fore. Thus this soundtrack can be well recommended while reading visionary literature from Arthur Machen and Henry Rider Haggard where heavenly mysticism meets dark energies and horror stories.
Both Martin Boulton (aka Min-Y-Llan, Touched Music founder) and Jeroen Bax (aka exm) build incredibly surreal audio worlds. As their earlier releases were characterized as a “real demonstration of powerful synergy,” this eponymous release draws a recognizable pulse.
Veter glides by like gentle snow falling in the heart of winter, with its melodies drifting past light technoid flutter and a crisp chill in the air.
This closing retrospective explores a dozen sculpted electronic textures and tones, where rhythmic audio structures collide and collapse, crumple and fold, as the Australian label shifts into the forward-thinking Glitchpulse Records outfit.
Northern Mexico’s Facade Electronics’ annual compilation titled Sampler IV (aka Sampler IV. Present and future. Facade Electronics 2020-2025) shifts into their fourth of the series, representing fourteen tracks that spark and shimmer at all the right angles.
Mert Büyüksağnak (also known as Consul) makes a strong debut breakcore and braindance collection, tearing through the speakers with splintered beats galore.
Diving head-first into Wankers United’s (also known as Thomas Lanza) most recent album, Zootech, for Evel, and we’re hypnotized by its melodic disintegration and glitch-laden groove.
Where atmospheric waves coalesce, drifting sonic ice-sheets scrape up against each other as Identity Values subtly gains momentum while aligning with Audiobulb’s extensive Rolodex of abstract sound sculptors.
Overall, Last Drives is an intriguing, ominous voyage through sounds and moods. Each piece maintains momentum and is unquestionably worth the time to absorb, and perhaps return to time and time again.
Clashing noises, odd scintillations, cavernous echoes, and granular moves insidiously come to the fore to enthrall or ravish the listener in an intoxicated and poisoned tellurian or subterranean ambiguousness.
At thirty-nine minutes, abstract dark drones and punctuated slices of musique concrète flicker across densely layered clicks and disheveled echoes.
