Ignatius Turns Decay Into Motion on Debut Album Noxi Melank

Ignatius, an artist also working under Buried In Time, arrives on Evel with Noxi Melank, a debut album built from damaged systems and rhythms that refuse to stabilise. Across eight pieces, the record treats erosion as a working method rather than an effect: sound worlds are fragmented, worn down, and reassembled, then left running.

The opening piece, “IdleDeep,” stretches toward ten minutes, its blips, echoes, and half-buried voices flickering beneath a surface that keeps slipping. “GenderLimo” tightens the tempo without gaining weight, its crumpled tones and drones carrying a melancholy that stays abstract rather than confessional.

What holds the album together is an unusually clear sense of intent inside the noise. “Editorial” pushes into rhythmic deformation that sits somewhere between Autechre and Syl Kougaï, its modular structures buckling and reconfiguring rather than breaking. Low-end rattle runs throughout as a benchmark, while Ignatius works comfortably in odd time signatures whose blur never costs them forward motion.

Later, “Nonsequitirs” and “Locations” turn toward downtempo, nearly translucent electroacoustic territory, where fragments of rhythm surface through electronic debris and disappear again. “SloxiEnds” closes on a brighter note, its Tri Repetae-like abstraction gradually reshaped by distortion before an almost Eastern-sounding flourish ends it.

Noxi Melank is out on Evel.