Kingdom Come: A beige noise

I haven’t felt this dismayed about electronic club music since House music moved into “lounge” bars in the summer of 2004 and joined forces with jazz in one of the genres more shadowy periods. It was a summer fedora-wearing pseudo boho chic “artists” forcing an improvised pedestrian saxophone, or some

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Resonant Sounds

We err on the dark side, with beats bearing teeth and sonic landscapes that’s dark and ominous in their delivery. These are the records forged in the brimstone basin of perdition, delivering punishing blow after blow and negating the obvious without straining the listener’s conscious capacity. These are records made

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Marc Kate – Deface

A dissonant miasmic drone sweeps across Marc Kate’s Deface reducing the sharpened peaks and jagged troughs of his source material to a innocuous wispy ebb. The album hides an uncomfortable eerie dissonance in its sonic wake with the Californian artist yet again examining some socio-political discourse through his music. A

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Benjamin Finger – Ghost Figures

Beguiling piano motifs haunt an otherworldly dimension as strings resonate in solemn reverie against a superficial backdrop of electronic miasma. Disquiet ensues in the empty spaces between intervallic leaps as the player purposively caresses dormant keys in simple gestures redolent of Satie in one of his more contemplative moments. Dust

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RX-101 – Like Yesterday

An air of nostalgia swathes RX101’s debut record, Like Yesterday, as if like a chance encounter with an old friend, bringing back shared memories of some intangible ghostly past. You inherently know this music, even if you don’t know exactly how. You know it through the hiss of an overdubbed tape, electronics constrained

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