Computer Band – A Fractured Symphony of Synthetic Percussion

In Computer Band, Nühn dismantles the rhythmic DNA of drum and bass, reconstructing it with a mathematician’s precision and a surrealist’s imagination. Across its three movements—Dead Singers, Riff Too Much, and Drummers Around—the album transforms percussion into a philosophical experiment. Each track is a dialogue between man and machine, where the “band” exists only as a computational hallucination of rhythm.

Nühn’s approach rejects formulaic breakbeats in favor of a raw exploration of drum synthesis. The beats fracture, recombine, and implode, sculpted from oscillators and sequencers rather than acoustic performance. What emerges is not chaos, but a new kind of musical geometry: rhythms that pulse with algorithmic sentience.

The production’s austerity—crafted in Nühn’s Scala Studio in Girona—recalls early electroacoustic laboratories, yet its spirit is defiantly modern. Sub-bass hums beneath metallic highs; digital cymbals shimmer like broken glass. The texture is at once cerebral and visceral, transforming what could be cold machinery into something oddly human.

Philosophically, Computer Band stands as an ironic commentary on the idea of the “band” itself—an ensemble reimagined as code. It interrogates whether rhythm requires flesh, or if computers can truly “feel” groove. The result is a radical redefinition of drum and bass: not a genre of speed and aggression, but of architectural thought.

This is not an album for casual listening. It is an auditory study in abstraction—an avant-garde essay written in frequency and time. Nühn’s fourteenth extended play may be small in scale, but it resounds as a landmark in experimental electronic music: a coldly luminous testament to what happens when mathematics dreams in rhythm.