Experimental Electronic Music
Well, well, well, what do we have here? “Harsh pop” it seems like, as if I’m supposed to know what that means, but it sure does intrigue me. And skimming through the tracks of this record, I definitely enjoyed the aggression and the really bright synths, so I figured that I might as well properly listen to the entire thing.
Unveiled Lights’ tapestry of sounds will ravish fans of silky drone tones and spacious electronic sonorities from Lull, Vidna Obmana, Phelios, Steve Roach, Ajna, Forest Fang, Numina, and Caul.
Rontronik’s taste for noisy textures and atmospheric shines on Zero Nine. Although in terms of composition, the album runs smoothly, its production is solid enough to demonstrate a good sense of timbre, and the sound palette he chooses to highlight is astounding.
Clashing noises, odd scintillations, cavernous echoes, and granular moves insidiously come to the fore to enthrall or ravish the listener in an intoxicated and poisoned tellurian or subterranean ambiguousness.
Embedded with captivating atmospheres, Stone Leaf cogently creates subdued experimental electronic flutter that we’ll continue to revisit again and again.
Golden Fangs’ music is an intricate and dense blend of musical styles like industrial, noise rock, dub, and trip hop that’s both addictive and delectable.
The power of a rumbling locomotive with interwoven technoid laser beams and plenty of slithering robotic rhythms.
Easily a highlight of the series, the forthcoming compilation finale will include all seven releases rolled up into one high-powered assemblage. Watch out.
Industrial rhythms and explosive beats, aggressive textures, unsettling ambient, and resonating drones create aggravated assemblages that mirror the advanced architecture of the market forces as driving as the bass drops and as savage as the distorted beats.
A surreal visual and aural impression is elevated by the clinical accuracy of each composition, its punctuated rhythms, and its blend of dub techno strands cut with skeletal electronics and tangled synth peripherals.
Before the halfway mark, you get some noise that sounds like it’s derived from scraping a metal sheet on the floor, which may sound astoundingly unpleasant when I frame it that way, but becomes much more fitting and digestible when it is so quiet in this piece.
