Experimental Electronic Music
Solypsis’ The Coming Fight detonates sixteen micro-bursts of mechanical chaos, where James Miller channels industrial grit and power-noise pulses through fractured, bass-driven technoid landscapes. Across blistered percussion, warped synths, and insurgent IDM-infused breakcore, the album balances brutality with transcendence, crafting a confrontational yet hypnotic journey through sound.
Sedonis is a searing new release from noise icon Merzbow and Chicago’s Signal In Noise label, blending his signature chaos—overdriven electronics, handmade instruments, and relentless textures—with the label’s sharp visual identity. At nearly 70, Merzbow remains uncompromising, delivering an immersive, punishing sonic experience that continues to push the boundaries of sound.
Almost fifty minutes of improvised spazzing noise and dizzying breaks, all mastered rather loudly, make RiotxNoise far more than exciting; if the premise wasn’t enthralling enough, there’s also vocals and a damn harpsichord on this LP; now that’s good business if you ask me.
Displacer revisits this iconic record and brings some friends along to partake, creating a flowing and textural audio assault that represents the entire dark electronic music landscape, likely for another decade.
These forgotten tracks offer dark, crunchy, and cinematic structures in a mere three piece suite spanning just over five minutes.
All in all, the four tracks on the Russia EP certainly leave a positive impression. The noise is satisfying, and the way the pieces constantly move around makes them really engaging.
Dark undertones and intricate percussion riffs dominate this album that starts off ominous in the first half and in the second part shines with rays of light and majesty poking through the heavy clouds.
It is easy to get entrained on these beats, and they have just the right level of aggression to appease fans of noise and post-industrial music as they would those who are just in it for the pure power of the pulse that hits like a lightweight spinning a punching bag.
The Itself of Itself corresponds to the most obscure and psychoactive abstract and radical tendency of Bass Communion’s music.
“A mosaic of the human experience,” indeed, Carbon Based Shrine is a somber, illbient-tinged, and introspectively dark soundscape with sporadic bursts of lighter parts piercing through the ashes.
