Terrence Dixon's new full-length is a two-headed behemoth that ducks and dives from edgy minimalist funk into heaving sci-fi soundscapes. Whether you're into Actress, Hieroglyphic Being, Jeff Mills or Steve Roach, this one's an essential listen.
Dixon's latest dystopian nightmare is exceptional, highlighting his twin interests in spaced soundscapes and robotic 4/4 minimalism, divided into two distinct sides.
The first, beginning with the gusty 'Cosmic Storms', is where Dixon flexes his machine funk muscle, mapping out a neon-lit cityscape with hollow kick drums and flickering synths. If you're familiar with recent transmissions like last year's "Reporting From Detroit" then the vibe won't come as a surprise, but Dixon's ability to transfix with the barest elements really can't help but bend our brains. Tracks like 'Final Results' and 'The Meeting' pulse with a familiar whirr but still somehow unique, deepening a sonic future with soft lighting and eerie cross-hatched shading.
But it's the flipside's suite of glimmering music that has us transfixed. Dixon is capable of creating a mood that's so visual you can almost taste the burned fuel in the air. There's an ominous flicker to 'Brilliant Rotation' that pits Blade Runner-esque android synthetics off groaning dark ambience and gaseous, volcanic noise. 'Other Dimensions' is bolder still, building an orchestral cacophony from synthetic pads and glassy, atonal droplets. Each track flickers with tangible, traced outlines; unsettling and always experimental, it's a mood that only Dixon has perfected and continues to evolve.
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Terrence Dixon's new full-length is a two-headed behemoth that ducks and dives from edgy minimalist funk into heaving sci-fi soundscapes. Whether you're into Actress, Hieroglyphic Being, Jeff Mills or Steve Roach, this one's an essential listen.
Dixon's latest dystopian nightmare is exceptional, highlighting his twin interests in spaced soundscapes and robotic 4/4 minimalism, divided into two distinct sides.
The first, beginning with the gusty 'Cosmic Storms', is where Dixon flexes his machine funk muscle, mapping out a neon-lit cityscape with hollow kick drums and flickering synths. If you're familiar with recent transmissions like last year's "Reporting From Detroit" then the vibe won't come as a surprise, but Dixon's ability to transfix with the barest elements really can't help but bend our brains. Tracks like 'Final Results' and 'The Meeting' pulse with a familiar whirr but still somehow unique, deepening a sonic future with soft lighting and eerie cross-hatched shading.
But it's the flipside's suite of glimmering music that has us transfixed. Dixon is capable of creating a mood that's so visual you can almost taste the burned fuel in the air. There's an ominous flicker to 'Brilliant Rotation' that pits Blade Runner-esque android synthetics off groaning dark ambience and gaseous, volcanic noise. 'Other Dimensions' is bolder still, building an orchestral cacophony from synthetic pads and glassy, atonal droplets. Each track flickers with tangible, traced outlines; unsettling and always experimental, it's a mood that only Dixon has perfected and continues to evolve.
Terrence Dixon's new full-length is a two-headed behemoth that ducks and dives from edgy minimalist funk into heaving sci-fi soundscapes. Whether you're into Actress, Hieroglyphic Being, Jeff Mills or Steve Roach, this one's an essential listen.
Dixon's latest dystopian nightmare is exceptional, highlighting his twin interests in spaced soundscapes and robotic 4/4 minimalism, divided into two distinct sides.
The first, beginning with the gusty 'Cosmic Storms', is where Dixon flexes his machine funk muscle, mapping out a neon-lit cityscape with hollow kick drums and flickering synths. If you're familiar with recent transmissions like last year's "Reporting From Detroit" then the vibe won't come as a surprise, but Dixon's ability to transfix with the barest elements really can't help but bend our brains. Tracks like 'Final Results' and 'The Meeting' pulse with a familiar whirr but still somehow unique, deepening a sonic future with soft lighting and eerie cross-hatched shading.
But it's the flipside's suite of glimmering music that has us transfixed. Dixon is capable of creating a mood that's so visual you can almost taste the burned fuel in the air. There's an ominous flicker to 'Brilliant Rotation' that pits Blade Runner-esque android synthetics off groaning dark ambience and gaseous, volcanic noise. 'Other Dimensions' is bolder still, building an orchestral cacophony from synthetic pads and glassy, atonal droplets. Each track flickers with tangible, traced outlines; unsettling and always experimental, it's a mood that only Dixon has perfected and continues to evolve.
Terrence Dixon's new full-length is a two-headed behemoth that ducks and dives from edgy minimalist funk into heaving sci-fi soundscapes. Whether you're into Actress, Hieroglyphic Being, Jeff Mills or Steve Roach, this one's an essential listen.
Dixon's latest dystopian nightmare is exceptional, highlighting his twin interests in spaced soundscapes and robotic 4/4 minimalism, divided into two distinct sides.
The first, beginning with the gusty 'Cosmic Storms', is where Dixon flexes his machine funk muscle, mapping out a neon-lit cityscape with hollow kick drums and flickering synths. If you're familiar with recent transmissions like last year's "Reporting From Detroit" then the vibe won't come as a surprise, but Dixon's ability to transfix with the barest elements really can't help but bend our brains. Tracks like 'Final Results' and 'The Meeting' pulse with a familiar whirr but still somehow unique, deepening a sonic future with soft lighting and eerie cross-hatched shading.
But it's the flipside's suite of glimmering music that has us transfixed. Dixon is capable of creating a mood that's so visual you can almost taste the burned fuel in the air. There's an ominous flicker to 'Brilliant Rotation' that pits Blade Runner-esque android synthetics off groaning dark ambience and gaseous, volcanic noise. 'Other Dimensions' is bolder still, building an orchestral cacophony from synthetic pads and glassy, atonal droplets. Each track flickers with tangible, traced outlines; unsettling and always experimental, it's a mood that only Dixon has perfected and continues to evolve.
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Terrence Dixon's new full-length is a two-headed behemoth that ducks and dives from edgy minimalist funk into heaving sci-fi soundscapes. Whether you're into Actress, Hieroglyphic Being, Jeff Mills or Steve Roach, this one's an essential listen.
Dixon's latest dystopian nightmare is exceptional, highlighting his twin interests in spaced soundscapes and robotic 4/4 minimalism, divided into two distinct sides.
The first, beginning with the gusty 'Cosmic Storms', is where Dixon flexes his machine funk muscle, mapping out a neon-lit cityscape with hollow kick drums and flickering synths. If you're familiar with recent transmissions like last year's "Reporting From Detroit" then the vibe won't come as a surprise, but Dixon's ability to transfix with the barest elements really can't help but bend our brains. Tracks like 'Final Results' and 'The Meeting' pulse with a familiar whirr but still somehow unique, deepening a sonic future with soft lighting and eerie cross-hatched shading.
But it's the flipside's suite of glimmering music that has us transfixed. Dixon is capable of creating a mood that's so visual you can almost taste the burned fuel in the air. There's an ominous flicker to 'Brilliant Rotation' that pits Blade Runner-esque android synthetics off groaning dark ambience and gaseous, volcanic noise. 'Other Dimensions' is bolder still, building an orchestral cacophony from synthetic pads and glassy, atonal droplets. Each track flickers with tangible, traced outlines; unsettling and always experimental, it's a mood that only Dixon has perfected and continues to evolve.