Mille Plateaux bringen in den kommenden Tagen ein neues Album des estnischen Producers und Multimediakünstlers Kiwanoid (auch bekannt als Kiwa) unter dem Titel “Vanatühi” heraus: dunkle, verspielte – in der Selbstbezeichnung des Künstlers technopagane – Elektronik mit verschiedenen Schlagseiten zu Drum’n'Bass, Ambient, Noise und einigem mehr, die Titel der meist kürzeren Tracks bezeichnen das Wort “nichts” in zwanzig verschiedenen Sprachen, Dialekten und Formen des Slangs. Das Album erscheint als LP und digital. 
“The sonic landscape is crafted using deprecated tools: a first-generation 4-bit laptop, the DOS operating system, and a tracker program. Inspired by glitch aesthetics, the sound palette includes clicks, error noises, and low-bitrate techno sounds. Initially, the structures of the pieces may appear complex and chaotic. This electronic thicket might seem abstract, cold, and inaccessible, yet upon closer examination, it reveals a plethora of diverse species, coming across as somewhat nostalgic and warm, evoking surreal associations. From beneath towering sequoias peek pixelated ferns, LED eyes are blinking from below the undergrowth, and against the backdrop of a crackling campfire and cave paintings, a lively stomping of microchips unfolds. Sudden contrasts, sharp cutting edges, a tachycardic bass drum engine, and irregular polyrhythms make themselves physically felt. Elsewhere, haunting lo-fi textures, hidden ambient drones, mysterious hums, and obscurely garbled samples offer introspective breathers. The dynamic range of the music is favourably extensive, and the raw imperfections of the sound are unmasked by reverb effects or other generic tools. Interwoven throughout are outsider rhythm loops, which could find a home at an alien rave party or a hobgoblin honky-tonk. Various human voice samples build a bridge to the listener, allowing them to embody a cyborg-like experience. While each twist and turn remains unpredictable, these diverse approaches align in complementary patterns and stochastic regularities, making the whole surprisingly coherent, despite its chaos. The album doesn’t bore the audience with intentionally irritating compositions or pseudocomplexity — it demands attention, but doesn’t try to outrun its listeners.” (Mille Plateaux)