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GLKS1’s Wild turns Indefinite Pitch’s mirror object into a deep-techno signal
GLKS1 contributes Wild to Indefinite Pitch’s Objects In Mirror Are Closer Than They Appear, a 28 June electronic release mastered by Brice Deloose.
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Fernie makes Spherical feel like a clean orbit inside Indefinite Pitch’s deep-techno universe
Fernie contributes Spherical to Objects In Mirror Are Closer Than They Appear, adding rounded minimal motion to Indefinite Pitch’s 28 June release.
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Farazdeck and Alexander Caird turn Primitive Man into a chaotic-order transmission
Farazdeck releases Primitive Man through Indefinite Pitch’s Objects In Mirror Are Closer Than They Appear, with vocals by Alexander Caird and mastering by Vladislav Isaev.
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BISKHIT and POUCH ENVY make DISORDER sound like a club edit with the wires exposed
BISKHIT’s DISORDER, produced by POUCH, appears as a preview from POUCH ENVY’s upcoming Greatest Hits, bringing club-rap tension into the 28 June pile.
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Charanjit Singh’s Ten Ragas still sounds like acid house arriving five years early
Pitchfork reviews the new Light in the Attic reissue of Charanjit Singh’s 1982 Synthesizing: Ten Ragas to a Disco Beat, a landmark Indian electronic record that anticipated acid house.
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Diles Que No Me Maten write Escrito En Agua like a funeral march that learned to shapeshift
Stereogum spotlights Diles Que No Me Maten’s Escrito En Agua, a Mexico City avant-rock album that slips between jazz dirge, krautrock, spoken-word and psychedelic ritual.
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