If you’re looking for the most interesting corner of electronic music right now, try poking around the space between noise and experimental techno. Recent releases like Container’s LP on Spectrum Spools and Blanck Mass (Fuck Buttons’ Benjamin John Power)’s Dumb Flesh are churning out violent, mechanical energy you’d be hard-pressed to find elsewhere; it’s hardly surprising that at the end of a recent Vessel set, I turned around to see Björk head-banging behind me.

Reanimator was an early entry into the noise-techno scene. The mysterious duo’s extremely physical Damaged Bads LP was recorded between 2007 and 2010, in locations like a Victorian attic in Kansas City, a barn in Belfast, Maine, and a bedroom in Bushwick. (The vinyl master was cut at Berlin’s famous Dubplates & Mastering.) The eight-track album stutters forward with plenty of intricate drum interplay and the unmistakable fuzz of analog gear. According to their label, Community Library, the “polyrhythmic time signatures of Balkan folk music” and “skittering curiosity of free improv” also had a hand in shaping in duo’s uncompromising sound.

Michelle Lhooq goes wherever Björk head-bangs. Follow her on Twitter