Hotel rooms can do strange things to you.

For the peripatetic Karhide, a year spent on the road to places as far-flung as South Korea, China and Canada has broadened his horizons still further, opening up a dramatic, cinematic palette of widescreen electronica – all composed in that dreadful space between check-in and check-out.

Where previous Karhide work has more often resembled Big Black if they were commissioned to soundtrack A Short Film About Killing, the 2018 model is closer to a post-rock Hans Zimmer, every bit-crushed snare and reverberating lead line building a horizonless expanse of sound.

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