Each chopped rhythm feels tethered by fragile harmonic strands, giving Echoloto its identity as a multidimensional collection of fuzzy glitch-hop abstraction, steeped in grit, grain, and faded sonic residue.
A worn, corroded presence
Kazakhstan-based sound scraper Marat Koshkin unearths grain-caked noise from a stack of relics suspended somewhere outside linear time, threaded together through industrial hip-hop collage and dust-covered circuitry. Across sixteen tracks, Echoloto reveals a worn, corroded presence almost immediately. “P callin” stumbles through fractured glitch patterns, while shattered funk rhythms on “Suicidal Thots” seep through illbient-tinted filters reminiscent of spaces once occupied by Witchman decades earlier—crunchy drum decay and sputtering low-end that feel impossibly distant, as if broadcast from a rusted transmitter.
Koshkin avoids leaning entirely on familiar sound-design tactics. Cuts such as “TATS” and “Big Water” echo fragments of early V/Vm experiments (or current productions by Aelk Minsur), loose plunderphonic constructions that initially appear chaotic or offhand, though an underlying sense of movement keeps everything locked together. Elsewhere, “black star audi TT” alongside brief interlude “Ma” drifts into acoustic glitch and weightless ambient terrain before closing piece “energetic crysis,” featuring Philip Cock and Alien Team, pushes record toward its most absorbing transmission—atmospheric modulation woven through downtempo breaks, clipped percussion, and unstable melodic threads.
Each chopped rhythm feels tethered by fragile harmonic strands, giving Echoloto its identity as a multidimensional collection of fuzzy glitch-hop abstraction, steeped in grit, grain, and faded sonic residue.
Echoloto is available on Soak. [Bandcamp]
