The record opens, appropriately, with what sounds like a garbled FM transmitter over some pillowy synth pads, eventually yielding to a pulsating dance rhythm and a hypnotic bass fuzz. The duo dabbles in the nostalgia of ’90s electronica throughout the EP’s 28-plus minutes, but it maintains an experimental edge and just enough peculiarity to keep you on your toes.
There’s also an unmistakable sense of claustrophobia and paranoia pervading throughout. The use of minor keys and hypnotic soundscapes is presented with languid pacing, drenching these songs in a murky, hallucinatory fog.
And Vargas’ lyrics — delivered with his baritone inflection — portray a sense of social apprehension and anxiety. His penchant for the disquieting only adds to the already prevalent sense of oddly gratifying obscurity.
There are some truly bizarre and disorienting moments of exploration, but it never devolves into self-congratulatory posturing. In this regard, Eureeka flourishes where a lot of experimental acts fail.
But perhaps most importantly, Polysynthetic Fields — while touching on several electronic-music cornerstones — manages to feel uniquely relevant in 2013; a suffocating breath of fresh air in the rock-heavy Norman music scene. As this young duo continues to refine its compositional clout, this EP might just mark the beginning of something oddly momentous. —Zach Hale