Savannah completes Mr. Beatnick’s Synthetes EP trilogy maintaining the mellow, memorable note the London musician hit by embedding hip-hop fragments, mosaic-like, between well-spaced kick drums.
Verging on unpredictable but coherent enough to find a place in DJ sets, Unstable Phenomenon is another solid entry in October’s discography.
Spectral Sound delivers this new Fort Romeau EP, pairing a track that’s been floating around since the release of Kingdoms with a dub version and a Lowtec remix.
The scope of the Ancient and Ugandan Methods projects feels significantly broader than much of the music being released under the industrial techno banner, and A Cold Retreat is another single-minded arrow in their quiver.
After the no-microphone synth outing Supreme Balloon, The Marriage of True Minds‘ methods mark a return to their hyperactive, IDM-flavored update on musique concrète.
A Made Up Sound’s latest doesn’t have much to do with Theo Parrish’s “Any Other Styles,” but its strategically incoherent aesthetic delivers a similar shock.
Both remixes of Justus Köhncke’s “Timecode” by Tyree Cooper and Axel Boman feel more urgent than the original, although neither changes the script too much.
Like Powell’s 2012 debut, this untitled record on The Death of Rave outline a highly individual and historically informed take on avant-dance.
Worlds is a unique mélange of deep house, Sun Ra, hip-hop, and the radioactive background glow of Autechre’s Amber, among other coordinates, but stands out as a work of deliberate individuality.
Chicago’s G. Marcell plays up his experimental side on Sound Extravagance, his first solo release for Hakim Murphy’s Machining Dreams label.
Built on a particular moment in Chicago house music history, The Black Madonna and Rahaan shape their sample source into two compelling new additions to it.
Distinctly less immediate than Redshape’s previous LP, The Dance Paradox, Square develops his sound in a more insular direction.
When We Were Eating Unripe Pears is a logical development of Bee Mask’s sound, but in terms of listenability and structural coherence, it’s a leap forward.
The three sleek tracks offered on Aji-No-Moto are heartily functional, while their precision-tooled construction holds its own sit-down appeal too.
While on the surface Lonely at the Top has much in common with Actress’s latest release, beneath this veneer, Lukid’s fourth LP is his strongest and most distinctive work to date.
Legowelt’s at his best when his music embodies the uncomplicated desire to meld minds with whatever machines are lying around. The Paranormal Soul delivers on this account without a pause.
NeferTT may be an anonymous collaboration between two established producers, but far more enjoyable than sounding out who’s involved or where it belongs is sitting back and enjoying their light touch.
Milton Bradley’s second EP for Prologue picks up where the first left off, preferring small tweaks and chance collisions to dynamic or structural changes.
DRGN/Wist 365, Recondite’s first release since the breathtaking On Acid, adapting the blueprint guiding his Plangent EPs to a darker hue.
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