A new review of Bone Music, this time from the Grave Concerns e-zine:
What really sets apart Khan’s work from most of his contemporaries in the dark electronic scene is a fondness for more traditional sound sources. While there’s no shortage of electronic ambience and computer-generated percussive sounds, there’s also plenty of mostly unadorned rock and classical instrumentation. “Waiting for Gira” backs its rumbling percussion with the heavy throb of low-end bass guitar, for example, and “Friends of Father” sees what sounds like old-school guitar distortion and clattering snare drum emerging from a fuzzy wash of static. This more organic sound translates especially well to Khan’s use of rhythm. Often, his beats sound less like programmed sequences than tribal percussive ensembles, especially on the ominous “International Dark Skies,” which evokes imagery of some midnight voodoo conjuration, and title track “Bone Music,” which despite the morbid imagery of its title is actually possessed of a sense of fun not unlike Einsturzende Neubauten’s mellower instrumental experiments.