As these mutating pulses of bass, noise and hypnotizing dub cycle through the ears, one can’t help but become entranced by these unusual sounds—both stripped and engulfing.
[Release page] A mixture of granulated digital rhythms reminiscent of the aura left behind by the Clicks’n Cuts movement is ever present here—crisped blips, snips and snaps from all angles. As minutes slip away, these subterranean artifacts are wrapped in a flurry of microscopic beats and bass. The album effortlessly collates a stream of genres including fragmented hip hop, experimental, lounge and chilled microscopic experiments left to nurture itself in a field of lost data and crimped ambient digits. The artist, who also happens to have mastered this lovely piece of sizzling audio debris, balances instrumental melodies and mechanical blocks of beauty (“Multiverse” is a prime example) in a tangible and coherent manner.
As these mutating pulses of bass, noise and hypnotizing dub cycle through the ears, one can’t help but become entranced by these unusual sounds—both stripped and engulfing. “Habitat” takes on a serene approach; its exterior is coated in aquatic synths as a sublime layer of bells crackle among the flooding analog tones. But just as you float into Catalysm‘s mysterious void, “Borg” alters the equation with its distorted low-end and definitive retro-electro edge. “Strintium” melts a post-industrial haze atop classical harmonies—as if the artists’ intent was to train the ears in a plethora of electronic mood-shifts.
While Superlauncher (also known as Tobias Lorsbach) would fit well on R2D2’s 2012 playlist, it certainly proves that there’s plenty to digest on this full length. So just when you thought glitch couldn’t go any further, Superlauncher picks up the Pole meets Monolake torch and lights it from its midpoint. A surreal blend of skewed electronics that forges through minimal atmospheres and maximum percussive landscapes.
Catalysm is available on UNOIKI. [Release page]
