The Brombron series was initiated in 2000 by Frans De Waard and Nijimegen-based Extrapool with the goal of giving artists in residence the chance to record their collaborative ventures. To date, this is the ninth release in the series and surely one of the best, showcasing the work of two top names on the market of contaminated acousmatics, a beautiful melange of seamed environmental recordings and mesmerizing dirty drones. The record starts with a carefully detailed atmosphere, opening a door and stepping into a room, walking around and rustling things, until all of a sudden a scary vortex of electronic oscillations appears out of nowhere, gradually mutating into an intransigent wall of consonant discharges, extraordinary in its emotional power. Everything stops abruptly after ten minutes, replaced by a collage of screaming seagulls and distant voices in a furnace of loops of traffic noise and whispering ghosts. A rumbling background frequency introduces electrostatic crackling which somewhat alleviates the tension before wonderful underwater chants emerge, disturbed by an undefinable gathering of sonic collisions in the surrounding space. In terms of sheer gorgeousness of sounds though the third track is probably the finest, an unstoppable, havoc-wreaking mass of electricity and interference, low-frequency beat sharpshooting in the middle of a nervous wreck. Hundreds of flies in a glass bottle beg us to feed them shit, but we’re the ones being digested by a corrosive saliva. With the unstable architecture of the final movement’s hums and buzzes, the annihilation is complete. Handle with care.