This is an overall consistent and fun LP, one that does not rely on any quirks to be appealing; what Old Haunts can really rely on are its intense grooves, so much so that they’re both the backbone and in the forefront of these tracks.
Tag: Glitch
Neuro… No Neuro :: minute. EP (Self Released)
Subtle field recordings and granular synthesis spread across these compositions as shimmering elements take hold.
Soul Data Transfer :: Soul Data Transfer EP (EC Underground)
The four tracks on Soul Data Transfer’s eponymous debut EP for ECU are delicately woven, abstract ambient-glitch morsels that flow and transcend space and time.
Felipe Vaz :: Architecture and Distraction (Evel)
Fast beats and non-rhythms flicker and fracture, revealing what appears to be the unpolished insides of the tools employed during the creative process.
(R)adar :: Runtime Eater EP (Xephem)
A subtle yet important addition to any experimental electronic music collection, Xephem definitely embark on earlier sonic artforms with a futuristic twist on Runtime Eater.
Pentagrams Of Discordia :: The Hippopotomons – trosesquippedaliophobia EP (Pulse State)
Slowly luring us in with warped melodies, slow motion rhythms, and unyielding atmospheric textures and tones.
VAAG :: Perfect Imperfection (Point Source Electronic Arts)
A centerpiece for the infinitely glitch-filled panoramic of 2024.
Hex Wolves :: High Order Ov Loud (Component)
A bewildering compilation of fifteen tracks, High Order Ov Load teeters on the brink of electronics and breakcore while remaining firmly on the dark side.
Exan :: Offset One EP (Errorgrid)
Offset One wraps things up in just over 30 minutes, yet it has enough energy to fuel an entire album.
Michael Valentine West :: comp/COMP (uvg212)
You might even draw parallels to the early works of Mouse On Mars, Autechre (“Gantz Graf” era), or even Richard Devine’s industrial-leaning sandblasted synthesizer techniques.
Synthetic Ecology 2 :: Finding the edge, some thoughts about ‘experimental music’
Experimental music can mean many things—often tracks are beat-less or off-beat, atonal or noisy, or in some way either more or less dense than other genres. My point is not to establish orthodox genre boundaries.
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