Regardless of structure or genre, the Mego production is some of the most erudite and articulate in recorded music. It's apparent that their artists love the infinite possibilities of sound, and as a result, no sonic detail is left unexamined, unedited or unexploited. That phrase is apposite in summarizing most of TG 11 as well. Tracks consist of progressively layered digital timbres, sub-bass drones and propellant cadences that build in intensity without reaching expected climaxes. This keeps things exciting.
Sustained pitches hum at the high and low extremes of audibility under a static backbone.
The trap kit, one of the most flawlessly recorded in recent memory, starts from a metronomic rim hit that gradually elaborates upon itself until it takes over propulsive duties. It's the epitome of what an opening track should be. The mention of instrumentation in that illustration leads me to one of the remarkable things about Radian. Unlike many of their genre contemporaries, Radian actually play instruments, not laptops. Without looking at the album credits, one would never assume that, aside from the drums, these sounds were created with actual human touch.