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.
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.
On Leaving contains a set of vintage variances, soothing drone tracks that are in ways abstract yet deceptively organic in nature. Minimal composition together with low pitches and recursive sets of sound contribute to this soothing effect.
Brittle electrical fields of sound that explore futuristic sculptures jump between breaks, downtempo, funk, dub, roughened techno, and magnetized hip-hop.
It is good to hear another contribution to the genre from Dave Seidel, whose homage is a masterpiece in its own right. That’s no surprise considering how as a musician, he continues to stay true and in tune with his own musical vision, all while extending the techniques of the masters who went before him.
