"Art of Sorrow" is dark and cinematic with a busy bassline that underlines its ominous groove. The major piece of action, however, is the blast of strings and organ that ring out every so often to announce the arrival of something new—the kick, the modulating bassline, your brain melting all over the floor. Like much of Goldmann's work, there's a sense of menace throughout. And it's this anticipation that sets Goldmann apart from 99.9% of producers working today in techno. Who else aside from Ricardo Villalobos or Bruno Pronsato do you listen to and actually have no idea where each track is going to lead?
It's hard to believe, for instance, that we'd hear Goldmann trying on dubstep for size. But "Radar Opaque" doesn't sound much like 2562, Martyn or Skream. Probably the closest comparison? T++, whose similarly unpredictable compositions may hit the right tempo and beat structure for the genre, but do everything else differently. It's a brutal work, as muscular as any dubstep tune you'll ever hear. It's unclear when "Radar Opaque" was made, but like everything he produces of late, it's pretty much timeless.