Three years into its existence, the Chicago-based Tympanik Audio label has rapidly become one of the most consistently respected and forward-thinking forces currently operating in the field of dark, post-industrial / IDM electronics, with the likes of Totakeke, Aphorism and Displacer featuring amongst the label’s ever-growing artist roster. Like the two preceding volumes in the series, Emerging Organisms collects together tracks from 29 different artists across two unmixed discs, with the contents being by no means restricted to Tympanik’s own artist roster – indeed, contributions from obvious likeminded labels such as Ant-Zen, Ad Noiseam and Spectraliquid all make appearances. Anyone familiar with Tympanik’s dark aesthetic will already no doubt have a good idea as to the sorts of sounds being explored here, but in this case the diversity of styles on offer here is extremely impressive, ranging from drilling breakcore through to murderous ambience, harsh metallic guitar elements, dance beats and, in the case of Poordream’s ‘Immense Present’, a slide down into noir-ish jazz pop.
Those looking for sounds at the more shearing end of the spectrum are certainly well catered for by breakcore-loaded fare such as Access To Arasaka’s ferocious ‘Kill Recorder’ and Detritus’ industrial junglist reworking of Empusae’s ‘Hard Boiled Wonderland’, but in this case the more furious beatdriven offerings are beautifully balanced out by the more atmospheric and downbeat inclusions here. SE’s ‘Chrono’ provides the perfect ominous opening here with its brooding fusion of sub-bass synth drones and distant field recordings against sinister crashing beats, while Terminal Sound System represent the lone Australian inclusion here, placing treacherously polyrhythmic layers of live drumming against foreboding bass synths and gently cinematic piano keys on the sweeping ‘We Eat The Sun’, easily one of this collection’s most understated highlights. Elsewhere, former Funkstorung member Michael Fakesch (an obvious influence upon at least a few of the artists here) contributes ‘Rand VA’, a spectacular collision of manipulated ping-pong ball rhythms and dreamy soft-focus melodic tones, though it’s a slight pity that the track itself is more than ten years old. Overall, this is an impressive and comprehensive collection that represents the ideal entry point for anyone new to Tympanik Audio, as well as providing a testament to the label’s increasing reputation and stature amongst the dark electronic music community.
Chris Downton
