Marco Simioni :: wave_function (Evel)
wave_function ultimately displays an artist working in top form, mapping out a series of experimental electronic terrains that converge into something uniformly disjointed, immersive, and quietly mind-bending.
wave_function ultimately displays an artist working in top form, mapping out a series of experimental electronic terrains that converge into something uniformly disjointed, immersive, and quietly mind-bending.
Across its ten tracks, vocals function as much as part of the instrumentation as they do a traditional lead, with Hammerbell and John Winston Phillips giving each song its own shifting character.
The Cardboard Falcon is a profoundly vibrant, impressionistic, cinematic, slow-moving, and melodically oriented neoclassical album that will lead the listener to a state of serenity and contemplation.
Funkstörung’s done it again. On Appetite for Disctruction, rattling beats and sweet melodies interact with an artist’s precision. Not only that, but the occasional vocal […]
Titled Les allées tourbillonnaires, this new release is a shadowy and immersive exploration of sound motifs and sonic details extracted from environmental noises and green-field recordings.
Strange storytelling, field recordings dusted in gray, gentle melancholy strings, and tribal electronic rhythms, meet stuttering voices and spell casting as sing-songing in a realm of wondrous enchantment.
Guitar serves as a central thread throughout They Shall Bring Death Upon Us, reinforcing its industrial-rock foundation without overshadowing the electronics. Instead, it cuts through the mix as a defining presence, driven by distortion, rhythmic decay, and patterns that accumulate weight as they unfold.
This is music pushing impetus and intention to the extreme, gluing together gorilla-XX fury, experimentation and possibility at the very tip of collapsibility and ruin, remaining just faithful enough to sanity to preserve its musical heart.
A disorienting, sometimes brutal experience that demanded we surrender to the music, accepting the limits of our own bodies and senses, resulting in a concert that fully lived up to Autechre’s glorious reputation. Article by: Christopher Mathieu and Georges White
Trusted Farms retains something of that freedom. It carries it into music that feels more physical, driven by rhythm, repetition and synthesizers with weight, friction and substance. Many parts were played live and barely edited. Lines are doubled, distorted, recorded again, sent through other machines. They remain recognizable. They keep some of their roughness. They breathe. Perhaps this is where the most beautiful part of the album lies.
Signals in the Static unfolds like a woven sonic blanket, warm and enveloping, as celestial voices drift, synths sway, and surreal blooms of ambient flutter shift and reshape across twelve pieces that feel more like soundtracks to life than a collection of tracks simply packaged together.
Two originals, three remixes, five cuts of finely engineered funk. Interdimensional Warlock takes familiar electro ingredients, wires them to a dirty great bassline and sets the whole lot loose after dark. Get your stank face on.
Chris Herbert’s Grisaille is a haunting journey through grainy ambient textures, fractured memories and shadowy soundscapes where beauty emerges from the dust of decaying dreams.
What Answers pulls off, mostly, is conjuring a nostalgic feeling attached to nothing specific. Tape hiss, degraded loops, half-remembered melodic phrases, none of it points at an actual memory. It just borrows the texture of one and hands it to you empty, letting you fill in whatever it’s supposed to be about. That’s a strange trick for two artists to pull off together, especially two who built this thing without ever being in the same room.
In WATERSHED, Markus Mehr transforms recordings from the early days of Russia’s invasion of Ukraine into an unsettling meditation on war, distance, and the responsibility of listening when looking away is always an option.