Electronic artist and producer Tom Algorithm released their 5-track Minimalist Techno EP “Sequences” on August 9th, the perfect introduction to their captivatingly immersive style is “To Dust”.
The progressive soundscape offers a complexity which is rarely found in Instrumental Electronica. The vibe of the track isn’t immediately obvious, to make To Dust even more intriguing, the nuanced evolutions in tone leave you even more eager to hear what Tom Algorithm will throw your way next.
Despite their moniker, there’s a serious amount of well-rounded human emotion on offer in the deft progressions which are robust despite the delicacy of the neo-classically-inspired notes around the swelling basslines.
You can check out To Dust along with the rest of the Sequences EP for yourselves by heading over to YouTube.
Ryuho Okawa’s ‘The Thunder” is an epic, rolling, soundscape – 8’15” of soaring composition in three parts, a gorgeous, haunting female vocal cutting in over the orchestral melodrama. It sounds, and I mean this in the most complimentary way possible, like the end credit music to a Michael Bay movie or, even more, a Hideo Kojima game, Metal Gear Solid or Death Stranding cut scenes rolling as the strings swell and the tympani crash. It’s that expansive and evocative.
It is a beautiful, well-crafted piece; a slow build of melancholy orchestration, deep long-drawn out ‘cello notes underlying pizzicato violin, and then three minutes in there’s a drop, the calm before the musical storm. That stunning vocal cuts in before a huge peal of orchestral thunder, a lift, and the drums rise to a militaristic tattoo, all snare rolls and marching beat, then the resolve at 5’30”, crescendo to key shift and then peace, the slow play out, the fierceness of the storm abating, tranquillity returning as the volume fades.
‘The Thunder’ is stunning; an absolute tempest of a track. You can hear it here, but be warned – you may need to take a moment after to catch your breath.
It’s 40 years since Brian Eno’s ‘Music For Airports’, but Eno’s notes around form and atmosphere still hold true; ‘Leslie’, then, is the lead track from Mike Soto’s debut album ‘Memories’, 2’44” of downtempo, chilled wandering piano phrases over a background of electronic beats, swells, and trance-y ambience.
It’s reminiscent of the more melodic parts of Eno, Helios’ ‘Caesura’, or Anitek’s ‘The Refractory’; downtempo but not downbeat, uplifting but not overpowering. It’s a nicely crafted piece, quiet and unobtrusive, the kicker at 1’39” catching you unawares and snapping your attention back to the repeating piano motif before it fades away to nothingness at 2’44”.
Tastefully done, Lo-Fi, and subtle, Mike Soto’s debut album ‘Memories’ is on iTunes; check out Mike on Facebook here.