If Jim Morrison were miraculously reincarnated and decided to embark on a minimal-electro side project, it may very well sound like Louderbach’s second album, Autumn. Louderbach, the techno-goth brainchild of Berlin based producer Troy Pierce and L.A. based vocalist Gibby Miller has established itself in the minimal techno sphere for its eerie yet head-nod-invoking grooves, consisting primarily of rumbling bass lines and metallic atmospheric glitches. On Autumn, Pierce adopted the semi-detached yet peculiarly heartfelt vocals of Gibby Miller and in doing so improved the mysterious, robotic sound Louderbach is known for.
In many ways, I find myself listening to Autumn more as a piece of experimental art and not so much a piece of ‘music’ in that that sounds Pierce and Miller create are so unnatural to the human ear it almost doesn’t adhere to musical standards. Even though this may sound harsh, degrading their sophomore LP to a mere art project, it speaks wonders to the creative juices flowing in the duo’s right brain. Whether it’s the massive effect layering on ‘So This Is Control,’ Miller’s ghostly vocals on ‘Seems Like Static,’ or the uncanny optimism of ‘Sunspots’ and ‘Shine,’ Pierce and Miller have outdone themselves. So for all the anti-minimal-electro naysayers out there: you probably won’t appreciate the sonic obscurity that surfaces on Autumn. But for anyone seeking an otherworldly musical experience, pop this in and prepare to be spooked, aroused and generally tormented by the emotional imbalance Louderbach incites.

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