John Healy (half of Somatic Responses) returns with a blistering five-track suite steeped in distortion, mechanical pressure, and digital disarray. From the ironclad march of the title track to the fractured geometries of “Monomat,” Healy sculpts a world of warped percussion, ambient debris, and glitch-ridden chaos. Dense and disorienting, it rewards those willing to navigate its alien circuitry.
Let the sediment settle
John Healy returns to the helm with a five piece suite steeped in heavy saturation and raw, industrial glitchwork. Mechanical pressure, rhythmic sludge, and distortion engines grind relentlessly, particularly on the title track, where metallic reverberations churn in a steady, ironclad march. “Monomat” veers toward Autechre/Gescom‘s digital soil, channeling an LP5-esque path — tangled in the spasmodic pulse of “Vose In”-style grooves and malfunctioning geometries.
Healy thrives in these microscopic, alien sonic terrains. “CS72 (Live)” exemplifies this comfort — a bruised swirl of warped percussion, low-end murk, and ambient fragments. Disoriented but oddly inviting, it drapes chaos in warmth. Meanwhile, “Top of the Pops,” likely a wry nod to the bygone UK broadcast, flickers through fried circuits and pulsing emissions — a labyrinth of corroded rhythms and technoid residue.
Closing chapter “Hydraphix (MonoPolyMix)” stands as the most defined structure — a dense exoskeleton of machine-coded precision, shattered breakbeats, and power electronics. It’s a punishing finale from a sculptor of synthetic disorder. Proceed carefully. Let the sediment settle.
Glynnph is available on Photon Emissions. [Bandcamp]
