On their third album, the Danish duo Videodrones explore their kosmische take on synth wave further. Videodrones' first two albums tapped into short arabesque-like pieces, playing out like cues in a film. Atavistic Future sees them broadening out, with the two main tracks on the album clocking in at eight and almost 12 minutes respectively. And it's not only in the track lengths that Videodrones are reaching beyond: There is a wider range of influences and nods - from the Phillip Glass Koyaanisqatsi-repetitions of "Church" to the Suzanne Ciani Buchla-bursts of on the title track. It's the seamlessly weaved together influences, that makes Atavistic Future tick. The album is based around improvisation and repetition, allowing ideas to drift and emerge - catching fire at random. As always, most of the material were captured during a single prolonged day and night of jamming at Jonas Munk's studio, digging into his expansive collection of synthesizers. The pieces were then folded and reassembed by Jakob Skøtt - maintaining the improvised spirit, where synths and float out of tune and clock, yet intricately detailed and ever changing - bringing forth the best of both studio-production and jagged improvisation. As the title might remind you, we're always forgetting the most favorable traits of yesteryear - in search of what's ala mode, we're missing what the future must have felt like in the past. Videodrones is a silver-clad reminder of what can come out of having keen eyes and ears in the past as well as the future - leaving behind something vital for the present.