Final Form is the realization of OISATSANA’s gently crumpled soundscapes, accompanied by the granular crunch of electrical signals glitching in tandem.
Recent Posts
Sophia :: The Age Of The Narcissist (Cyclic Law)
More heavy and power electronics are used as main architecture, punctuated by processed acoustic elements, retro-futurist tribal drums, doom-laden organ chords, micro noises, and nihilistic vocals, wordless and narrated.
Dalot :: Aquarium (Same Difference Music)
I am carried about on the circularly flowing strings within dim and transparent emerging elements and an odd mixture of electronic textures, granular and glitchy, and decorated with humorous abrupt collages.
David Morley :: Fashion (De:tuned)
Organ groans call forth earthen percussion, dripping clanks and clods of drum soon shed of their organic trappings as industrial tones begin to dominate.
Demetrio Cecchitelli :: Jump (Dronarivm)
A refined and subtle microtonal ambient work with alluring and playful instants of beauty and floating glimmers.
Belong :: Realistic IX (Kranky)
Belong’s return with Realistix IX is quite a success. They improve significantly on where they had left off and also make use of their noisy aesthetics, combining the two into a satisfying sonic collection.
Fennesz :: Venice 20 – 20th Anniversary Edition (Touch)
Venice is an album that continues to work extremely well, even after 20 years. The combination of lighter-sounding loops with sounds that are more distorted results in a complexity of tone and texture as this remastered version emphasizes.
Maes Y Circles :: Maes Y Circles (GOTO)
Maes Y Circles’ self-titled album is a solid work with some great tracks. Audio technology is showcased, but because the sounds are of a vintage quality hearkening back to musicians such as Tangerine Dream and Vangelis.