Eminence is the complete package if you’re diving into the post-techno world of electronic manipulation with aplomb. Ryan Huber, a Cerberus one-timer (in fact, he’s had another 7-inch square lathe reviewed here), takes it to another level on both fronts this time around with a one-sided number that looks great and, surprisingly (lathes don’t always ‘pop’), sounds damn-damn solid as well. The rhythmic pumping is a new development for Huber, if memory serves (oops, nope, last time I said there was a “rhythmic pulse” but it was a “barely detectable one,” whatever that means), and it pushes the composition forward without limiting its atmospheric capabilities. It’s like a downscale, lofi version of one of those Zhark records, propulsive and experimental at the same time, accepting no statute of creative limitations when it comes to building momentum up and dissolving it just as quickly. The stops/starts sprawl out seamlessly, and as the church bells ring, signaling the close of Eminence’s all-too-short jaunt, Huber keeps the bass bursts thrumming right up until the end while blurring them into each other like multicolored flashlight beams mingling in a dark room, closing out an intriguing set that will hit just the right spot in the hippocampus for many of you. Problem is, 25 copies ain’t many, so you’ll have to move if it’s not too late already. Keep lathes alive!