Experimental Electronic Music
Masaya Ozaki explores various sound sources on Mizukara and then manipulates them into comforting or sometimes discomforting new textures. There’s various acoustic instruments that get played with, contributing to the album’s overall variety and different soundscapes.
While their core ideas are always there, minimal variations make these pieces work, as they’re not just loops going on for 25 minutes straight; there’s so few minimal details that it’s worth pointing them out individually instead of providing examples.
Their previous album—FUTURISM (Section 27, 2022—was billed as “exploring the farthest reaches of sandblasted electronics,” and Like Phantoms is a smooth progression forward. Despite being “underground” since 2009, Section 27’s releases consistently push IDM and experimental electronic boundaries, inching closer and closer to the surface.
The combination of noise bursts, crackles akin to a detuned radio, a return to field recordings, reverberant knob-twiddling, and terrifying noise washes, creates a powerful soundtrack that evokes a theme of nature versus industry.
Slime unearths powerful rhythms while at the same time uncovering unique sub-genres that coalesce on this multifaceted and heavy-duty album.
Consisting of seven short, crisp slices that mesh well together in an amalgam of fractured and frantic electronics, Simulcracy is a definitive reference point for the expansive Concrete Collage catalog.
