Experimental Electronic Music
The Flying Dagger displays a solid batch of tracks that go as hard as the concept behind the project would lead you to believe. To match various fight scenes and the thrill of revenge, the beats on this EP do need to go rather hard, and they certainly succeed at that.
Matmos are masters of the electronic concept album, and I was delighted that the archive in question is the plethora of “sound” albums released by the maverick founder of Folkways, Moses Asch. Beyond the concept, these glitchy, rhythmic, noisy, textural pieces are a joy to listen to and behold.
The aptly-titled compendium seeks solace in transparent melodic layers, continually engaging its listeners through expansive and cinematic sonic snapshots.
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.
