RMHNDRX – The Hole

RMHNDRX has already proved he can do sharp, anxious electronic pop with YUKS, but The Hole sits in a quieter corner of his world. It feels closer to someone working late with the lights low, following half-formed ideas and stray memories instead of hooks. The Murakami influence he talks about is easy to hear: this is music for people who like the idea of sitting at the bottom of a well and listening to whatever noise drifts down.

The EP opens with “An Escape”, a short piece for piano, voice and space. Big, heavy chords land under a close, slightly tired vocal, more like a muttered thought than a performance. “Stars at Noon” floats in after it, built from soft vocal layers and synth haze, the kind of track that feels like staying in bed while the day moves on without you.

“You Are Lost” stretches out to six and a half minutes of modular drift and slow motion noise. It is less a song than a room: tones bend in and out, textures stack and fall away, nothing really resolves. “Seas Within Seas” shrinks that feeling into two minutes of raindrop-y synth plucks and low pads, like watching a storm from far away.

“The Body Passes Where the Body Is Not” is the darkest thing here, a long, tense piece that keeps circling the same feeling without giving it a clear shape. It sits somewhere between drone, score work and old tape experiments, and it is easy to imagine it pinned under a monologue or a long tracking shot. Closer “How is it in Reykjavík?” brings the voice back in full, over lo fi synth, slow drums and a simple progression that never tries to break the spell. Knowing it was written in a Beverly Hills hotel, one floor below the room where Whitney Houston died, only adds to the strange distance already built into the song.

For sync, The Hole is a natural fit for slow TV and film scenes, psychological drama, art documentaries, late night city shots, game menus, narrative podcasts, and any sequence that needs tension, distance or quiet sadness without obvious rhythm or melody getting in the way. “An Escape” and “How is it in Reykjavík?” work for more lyric driven moments, while “You Are Lost” and “The Body Passes Where the Body Is Not” sit well under voiceover and long edits.