Album Review: Contacts 4 by Godwin Monokrom & Monohim
Let’s dive straight into Contacts 4, the 1992 electronic masterpiece from Germany's Godwin Monokrom and Monohim. Released on Jeremy Bamber Tapes, this album is an unapologetic plunge into industrial grit, noise chaos, and experimental soundscapes. It’s not for everyone—but if you’re into music that challenges your ears and messes with your head, this one’s worth a spin.
One standout track is simply titled “Untitled.” Now, don’t let the lack of a flashy name fool ya—it’s got layers. The track opens with this low-end drone that feels like it’s crawling under your skin. Then BAM, these jagged bursts of distorted synths kick in, almost like someone took a sledgehammer to a broken keyboard. But somehow, it works. You can tell they weren’t afraid to push boundaries here. What sticks with me about “Untitled” is how raw it sounds—like it was recorded live in some abandoned warehouse late at night. No polish, no apologies. Just pure sonic rebellion.
Another track I keep coming back to (though I won’t spoil its title) has this hypnotic rhythm that sneaks up on you. At first, it’s all clattering metallic beats and static crackles, but then there’s this weirdly melodic undertone that emerges halfway through. It’s disorienting yet oddly satisfying, kinda like when you accidentally stumble across something beautiful while lost in thought. Tracks like this remind me why I love experimental music—you never know what’s gonna hit you next.
Godwin Monokrom and Monohim clearly weren’t trying to play it safe with Contacts 4. They embraced the ugly, chaotic side of electronic music and turned it into art. And honestly? That takes guts. Sure, some parts might feel overwhelming or even abrasive, but maybe that’s the point. This ain’t background music—it demands your attention.
Here’s the kicker: listening to this album in 2023 feels strangely futuristic. Like, how did two dudes in 1992 make music that still sounds ahead of its time? Maybe they had a time machine hidden in their studio. Or maybe they were just mad geniuses who didn’t give a damn about trends. Either way, Contacts 4 deserves a spot in any serious collector’s library—or at least a nod from anyone who digs weird, wild sounds.
So yeah, go ahead and check it out. Just don’t blame me if it scrambles your brain a little.
