The New York-based artist David Lee Myers has been a stalwart in the experimental electronic music scene since the late 1980s, producing over 50 releases and collaborating with electro pioneers like Merzbow and Asmus Tietchens. 

His latest release, Lustre, is a paragon of complex and discrete compositions using his trademark Feedback System. Each of the nine tracks could be a new genre of their own, from the sonic crowding of “Gaz des Marais” to the warm, enveloping washes of the title track. Myers’ perspicacity is revealed in both his tonal achievement and carefully orchestrated walks through his landscapes – meandering, listless, and at times rapturous. 

As a whole, Lustre parades Myers’ four decades-long investigations into the extremes of concrete composition. “Periodic Table,” the album’s concluding work, hints at the scope and range of Lustre, informing us of an entirely new but calculable table of the elements that is made of equal parts periodicity and specificity – time and tone, in other words.

Where to place Lustre in the larger purview of experimental electronic music is one that Myers has been himself answering, from feral Japanoise to German minimalism. You don’t need to know this to appreciate Lustre, which is a great introduction to the range and possibilities of the electronically-generated and modified production of the modest signal. To find out more drop by here