When Providence producer Davey Harms began releasing music, originally under the name Mincemeat or Tenspeed, he was a beat-driven outlier in the 2000s noise scene. Armed with only a looper and a phalanx of distortion pedals, Harms triggered pugilistic flurries of locked-groove beats. Dan Deacon was an early champion, telling Pitchfork in 2007 that Harms is “my favorite performer right now.” But when Zum Records boss George Chen spoke to the site in 2010 about releasing Mincemeat’s breakthrough, he admitted that “hardcore noise people might not be inclined to include [it], because it’s fun and has a beat to it.” A decade later, Harms hasn’t changed his approach, but the noise landscape has undergone a tectonic shift towards club music. With his new album, , Harms taps into both contemporary noise and techno, combining their feverish energy in a thrilling, off-the-rails collision.