Sclitch - 4

​Sclitch

4
self-released; 2024

TOP ALBUM

By Matt Jensen
​

For anyone immersed in ‘90s electronic music, the sounds of Aphex Twin, Autechre, and the rest of Warp’s vanguard weren’t just innovative—they were seismic. Their influence still ripples through modern electronic music, and Sclitch’s 4 is a testament to that lineage. The album wears its inspirations on its sleeve, but rather than merely paying homage, it reinterprets those foundational ideas with a fresh sense of playfulness and experimentation. There’s a restless energy running through these tracks, an eagerness to explore texture and rhythm in ways that feel both intricate and intuitive.  

4 leans heavily on intricate percussion, threading together a wide spectrum of moods and textures. The album’s opener, “Axtrea,” feels like a descent into some vast subterranean system, its rhythms ricocheting through echoing spaces, setting a tone that’s both immersive and alien. The mood shifts quickly with “Ylem,” a track defined by rapid, laser-like synth bursts that dart between hyperactive drum patterns. It’s frenetic but precise, a moment where the album’s Autechre influences become particularly pronounced.  

One of the most striking tracks, “Fuas PL,” plays with contrast in a way that defines much of 4. Metallic percussion clatters beneath airy, floating synths, creating a tension between the mechanical and the organic. There’s an unexpected warmth to its melodies, a softness that feels almost playful—something that could easily be lost in an album so focused on rhythm and percussive complexity. But here, Sclitch lets it breathe, and the result is one of the album’s most inviting moments.  

Not all tracks stretch their runtime. “ABT1” clocks in at just a minute, functioning more as an interlude than a fully realized song, but it leaves an impression. It’s cinematic and eerie, the kind of piece that could sit comfortably in a sci-fi soundtrack, providing a brief but haunting pause before the album’s next wave of percussive intensity. That intensity finds its peak in “Bobble Hed,” a track that thrives on juxtaposition. The synths are warm, almost nostalgic, while the percussion unspools in chaotic, unpredictable bursts. The track’s transitions are some of the most compelling on the record, shifting gears in ways that feel both unexpected and seamless.  

“Club Intermission” takes a left turn, injecting an ‘80s dance sensibility into the album’s framework, but through Sclitch’s lens, it sounds like something plucked from an alternate timeline. The second half of 4 might be even stronger than the first. “Icerm Repf” leans into dissonance, crafting a creeping unease, while “Zormkid” dabbles in jungle rhythms, conjuring imagery of an alien rainforest thick with movement. “ABT2” revisits the tension of its predecessor, keeping the atmosphere taut before “Flexahedron” shakes things up with a deep, head-nodding hip-hop beat. As the album winds down, “QVane” and “Pjro H” provide a fittingly layered conclusion, bringing together the album’s key motifs in a satisfying resolution.  

While 4 undoubtedly nods to electronic music’s past, it’s not trapped in nostalgia. Sclitch takes those foundational influences and bends them into something personal, something alive. It’s an impressive statement, and if this is just the beginning, there’s plenty to look forward to.

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