Aimé Dontigny is a Québec artist with a slippery aesthetic that wriggles free of easy classifications. Having begun with the “free noise” collective Napalm Jazz, his treatment of sound at its root informs his later work, from electroacoustic duos with Diane Labrosse and Chantal Dumas to a recent live performance under the direction of Francisco López at this year’s Victoriaville festival. Dontigny accesses these muscles here but also draws upon his work with Érick d’Orion in morceaux_de_machines, a project that force-feeds noise into the drum & bass paradigm. What Geisteswissenschaften offers is the rapid surveying of a micro-managed patchwork landscape where many styles and ideas compete for space. It opens with the lazy hip-hop pulse of Koons, which is eventually overturned by a chaotic collapse of competing beats, followed by the smooth flow of Pruitt-Igoe, where the electric piano and syrupy strings are just a little too uncomfortably degraded to produce nostalgia. The album begins to describe the worm in the heart of cultural recycling. What many modern electronic albums undertake to preserve through mutation and adaptation, Dontigny slathers with new layers of decay and distance-confusing disorder. The album succeeds by allowing just enough of the “known” to peek through while spinning through its disorienting cycles of hyper-detailed noise.