The second full-length from this genre-defying duo is a somber and richly-detailed work that constructs a dystopic environment where the 'natural' and 'organic' are inseparable from electricities, radioactivities and the detritus of military-industrial technologies and materials.
Through micro-recordings of metallic objects and resonances, field recordings, and raw filter-bank improvisations, Aden Evens and Ian Ilavsky (Sofa, Silver Mt. Zion) constructed a sonic landscape of polluted signal sources, weaving tentative, provisional signs of humanism into the mix by way of piano, organ and drums.
Alms is an invocation and critique of the distortions and remainders generated by the violence of the war machine. It is also a confession, of computer indulgence and easy access to technology, of leisure and the freedom for creative play - a tiny sonic treatise on the poverty of our times and how we shield ourselves from it.
This is not ambient music, or electronica. Please play as loud as possible.
Garden of Delete is unlike anything that Daniel Lopatin has done, in terms of technique, mood, or scope. It is denser than his previous albums, by several orders of magnitude. It is more varied, and it is funnier—scarier, too. The album carries with it a risk of whiplash that's as potent on the 15th listen as on the first.