Two decades later and The Snodgrass (aka Jordan Snodgrass) returns to his roots by pulling on them from the imputor? depths—seven tracks of machine music from outer space, he’s still got that fuzzy experimental electronics vibe.
Nuanced glitches and curious frequency bubbles
Two decades later and The Snodgrass (aka Jordan Snodgrass) returns to his roots by pulling on them from the imputor? depths—your friendly neighborhood music label. Seven tracks of machine music from outer space, The Snograss continues to transmit fuzzy experimental electronics as Styloid Process feels more like a reflection of analog noise boxes being tampered with.
The pieces were recorded live from April to September 2021 and all manner of found-sounds and synthesizers are crumpled into a maze of sonic activity. Textured soundscapes and soundtracks from the underworld, “Tony Gwynnbleid” is perhaps the most abstract of the lot; its Subotnick-like groove flickers about in minimalist fashion, while seamlessly flowing through a sandstorm. The video-game strands don’t veer too far from “Pepitas,” a slow-motion blips and bleeps affair that creates its own expansive space. Flipping back to the opener, the plink-plonk micro-melodies of “Cistern” should be enough to cause a stir—its wobbly rhythm and degenerating pulse takes us back to IDM of yesteryear, yet retains a lively and polished sheen.
The Snodgrass has kept busy for his sophomore / debut as “Lincoln” displays an unusually compelling minimal-techno reveal; its subdued tones, drones, and acidic smear runs too short as it approaches the 4-minute mark. We’ll leave “Anton (Slow Mix)” and “What A Time To Be Dead” to the listener to dissolve and unpack as The Snodgrass amplifies ambient vibrations to the nth degree with nuanced glitches and curious frequency bubbles bursting at all the right moments.
Styloid Process is available on imputor? [Bandcamp]
