Written and recorded during the quarantine months that followed the February release of Studies For a Vortex, this second outing from André Coelho as Metadevice presents a most frustrating dichotomy – presenting themes of humanity’s inability to feel and create, the album is a much less organic affair than the previous release, and is consequently less engaging. Throughout the eight extended soundscapes of Ubiquitarchia, the listener is confronted with doom-laden drones of synthesized bass, electronic feedback, and despondent samples, all dissipating into cacophonous sojourns of sound that ultimately lead to nowhere. Oh, there are occasions when it feels like Coelho is making a grand statement about societal collapse and authoritarianism, such as in “Hegemony of Homogeneity,” in which rhythmic oscillations and dissonant bass build upon a moaning ghostly ambience offset by screams of distorted synths and feedback. Similarly, the rather insipidly toned British woman’s voice on “Security/Territory/Population” finally resting on incessant repetitions of “If you have nothing to hide, you have nothing to fear” upon ominous waves of distortion and noisy warbles build to an oppressive coda that dissolves into an ear-shattering rumble, while the familiar theme of “who watches the watchers” permeates “Quis Custodiet Ipsos Custodes” through hollow waves of fuzz and static waxing and waning in the mix, the intimation of a beat briefly appearing at the start to lull the listener into the leviathan of audient despair. Unfortunately, even these tracks fail to ascend beyond the trappings of both the genre and the records themes – the cessation of human experience is presented quite literally, making Ubiquitarchia a challenging listen, but not necessarily a rewarding one. Of course, it is difficult to fault the artist for this approach as that seems to have been the point, resulting in a dark auditory curiosity that is perhaps best taken as more of an intellectual exercise.