Experimental Electronic Music
Oliver Dodd’s debut Silent Mantra EP for Perimeter Junk is a taut, club-ready statement of intent: three lean acid tools that prioritize pressure, discipline, and groove over spectacle, letting controlled tension and physical rhythm speak louder than excess.
Cape Breton Files is a brief but immersive release from Paul Fleetwood, shaped during a solitary week on Nova Scotia’s coast. Across two tracks, it blends ambient textures and techno pulses, capturing both the stillness of nature and the hum of machinery in a meditative, tactile soundscape.
A tightly curated suite of short but potent DJ tools: compact, flavorful, and rhythmically cohesive. In this second volume, Perimeter Loops Vol. II navigates an eclectic terrain—swapping between buoyant, downtempo, and propulsive loopscapes.
The duo seamlessly navigate complex coordinates of technique and technology, art and skill—weaving them into their own distinctive aural fabric.
Characterized as “10 tracks of technoblues,” Oizys, the album, follows very much in the vein of the previous Shrapnel, a lowlight minimal variant redolent of some early ’00s Berlin-inflected dub-tech/tech-dub releases.
These expansive soundscapes and punctuated four-to-the-floor compositions reveal forceful bass thuds, hypnotic rhythms, and acid-tinged strands.
Its deep textures and emotive draw take us through tunnels of soundscapes and raw echoes, the grooves precisely crafted and stretched.
These five selections shake and shimmy through downtempo layers with a pseudo-lounge cadence.
