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Think Mechagodzilla dance party. Once again, Tara Fournier lays down a furious nob throb under her solo Beastmaster nom de noise, and once again, she smelts a beat mastery that feels equally born of proto-techno and postindustrial decay. Fournier works live with no overdubs, so everything here is on-the-spot mixing and matching and collision hatching. Brute of Eminece is a single, nearly 27-minute track of rhythm fuckery, stretching pulsating tones and clashing electronics into free-jazzbo interstellar space travel.

And the single slab definitely feels like a journey. Brute starts off a skipping stroll of splashing beats and an almost house-y electronic melody line before it the bottom drops out and a prickling tone strafes the emptiness left in the suddenly barren rhythmic landscape. Feathery tones get food processed into a spicy paste of curried ideas. And lazer-beams of tones and effects start shooting in different directions, and the ear struggles in vain to grab onto a groove, as if trying to hold dry sand in your hands.

It all adds up to a disorienting plunge into a rather singular beat universe, feeling like a raw and crude version of the more polished and genteel mixes that flood playlists. Right now, the media cycle is awash in looking back at 1989, when Eastern bloc countries liberated themselves from under Soviet rule in various ways and people jubilantly gathered in the streets. Brute of Eminece is the sound that might come about once buildings decide to liberate themselves from urban planning to stand up and get down.

E-mail Bret McCabe