Australian-born, Iceland-dwelling composer Ben Frost has been releasing deep, punishing, nuanced drone work for more than a decade. Though Frost often plays guitars and has composed for buzzing string ensembles, his latest explores an uglier, colder palette of sounds closer to electronic and industrial music. Unrelentingly menacing, it’s a 40-minute suite of VHS grinding, wistful Blade Runner synths, howling white noise and broken Detroit techno. The human attempts to fight the robots are provided by the junkyard clang of Swans percussion abuser Thor Harris. Deeply unsettling, heart-quickeningly intense and often gorgeous.