By Azzam Bilal 
HangupsMusic.com – New York, The landscape of contemporary electronic music is often defined by its ability to bridge geographical and cultural divides, a feat rarely accomplished with as much visceral intensity as the ongoing partnership between Saint Abdullah and Eomac. The New York-based sibling duo, comprised of Mohammad and Mehdi Mehrasbi, has once again teamed up with the prolific Irish producer Ian McDonnell, better known as Eomac, to announce their fifth full-length collaborative project. Titled ‘When The Sandbox Has No Edge’, the upcoming album is scheduled for a global release on October 16th via the venerable Planet Mu imprint. This announcement marks a significant milestone in a creative relationship that has consistently pushed the boundaries of experimental hip-hop, industrial textures, and deconstructed club music. To coincide with the news, the trio has shared the lead single, "Cyphers Become Sifr," a haunting composition featuring the contributions of London-based British-Iranian multidisciplinary artist Abbas Zahedi.
The synergy between Saint Abdullah and Eomac is one rooted in a shared fascination with the intersection of sound, memory, and socio-political narratives. Saint Abdullah has long been recognized for their unique ability to weave archival recordings, religious iconography, and the complexities of the Iranian diaspora into a cohesive, albeit jarring, sonic tapestry. Their work often feels like a documentary in audio form, capturing the friction between East and West. Eomac, conversely, brings a veteran’s touch for rhythmic precision and atmospheric depth. Having established himself as a cornerstone of the European techno and experimental scenes—both as a solo artist and as one half of the duo Lakker—Eomac provides the structural scaffolding upon which Saint Abdullah’s evocative sampling can flourish. ‘When The Sandbox Has No Edge’ represents the pinnacle of this fusion, moving beyond the foundations of their previous four albums to explore a more expansive, collaborative universe.
The lead single, "Cyphers Become Sifr," serves as a profound introduction to the album’s thematic core. The inclusion of Abbas Zahedi is particularly noteworthy; Zahedi’s work often explores the concept of "social practice" and the ways in which physical spaces hold collective grief and history. In the context of the track, his voice acts as a guiding thread through a dense fog of percussion and shifting tonalities. The title itself—referencing "Sifr," the Arabic word for zero—suggests a return to a void or a dismantling of established codes (cyphers). It is a track that feels both ancient and futuristic, a hallmark of the Saint Abdullah and Eomac aesthetic. By stripping away the conventional "edges" of hip-hop and electronic production, the artists invite the listener into a space that is intentionally disorienting and deeply immersive.
The album is far from a solitary endeavor, boasting an impressive roster of guest contributors that highlights the trio’s reach across the global avant-garde. Among the most anticipated collaborations is the appearance of Armand Hammer, the New York rap duo consisting of billy woods and ELUCID. Known for their dense, uncompromising lyricism and their role in spearheading the current renaissance of independent underground hip-hop, Armand Hammer’s presence on the record signals a bridge between the abstract electronics of Planet Mu and the gritty, poetic realism of the New York rap scene. Additionally, the album features Richie Culver, the Hull-born artist whose work spans painting, sculpture, and spoken word. Culver’s inclusion adds a layer of stark, working-class British introspection to the project, further diversifying the album’s emotional palette.
Musicianship on ‘When The Sandbox Has No Edge’ is further elevated by the inclusion of instrumentalists who bring an organic warmth to the digital grit. Lester St. Louis, a renowned cellist and composer known for his work in the improvisational and contemporary classical spheres, provides melodic counterpoints that ground the more chaotic elements of the production. Che Chen, the guitarist from the acclaimed duo 75 Dollar Bill, contributes his signature microtonal and hypnotic string work, blending elements of American folk and West African blues into the electronic framework. The record also features intricate sound design from Seraphim, ensuring that every frequency serves a purpose within the broader narrative of the album. This collective approach transforms the record from a standard electronic LP into a sprawling, multidisciplinary dialogue.
The visual identity of the album is as carefully curated as the music itself. The cover art was designed by Elham Goodarzi, an Iranian-born artist and architect whose practice is deeply intertwined with the history of the Middle East. Goodarzi’s work for the album involves the manipulation of archival photographs dating back to 1915. These images were originally captured by European photographers as they traveled through Iran, Syria, Iraq, and Palestine during a period of immense colonial and geopolitical transition. By recontextualizing these historical documents, Goodarzi engages with the concept of the "European gaze" and the ways in which Middle Eastern identity has been framed by outsiders. This visual component mirrors the musical themes of the album, which seek to reclaim and reshape narratives of heritage and displacement. The title, ‘When The Sandbox Has No Edge’, can be interpreted as a metaphor for the dismantling of these historical and physical borders, suggesting a world where play, creativity, and identity are no longer confined by the "edges" imposed by external forces.
The release finds a perfect home on Planet Mu, a label that has remained at the forefront of electronic innovation for over three decades. Under the stewardship of Mike Paradinas (µ-Ziq), Planet Mu has fostered a reputation for championing music that defies easy categorization, from the early days of IDM and breakcore to the global explosion of footwork and the modern fringes of experimental pop. Last year, the label celebrated its 30th anniversary, a milestone marked by the release of the ‘Planet Mu 30’ compilation and a series of high-profile events, including a takeover of London’s Corsica Studios. That celebration featured a diverse lineup including Luke Vibert, Slikback, and Nik Colk Void, underscoring the label’s commitment to both its heritage and its future. Adding Saint Abdullah and Eomac’s latest work to their catalog reinforces Planet Mu’s status as a sanctuary for artists who refuse to adhere to commercial trends.
As the music industry continues to grapple with the pressures of streaming algorithms and the homogenization of sound, ‘When The Sandbox Has No Edge’ stands as a testament to the power of uncompromising collaboration. It is an album that demands active listening, rewarding the audience with layers of meaning that reveal themselves over time. The transition from the duo’s previous works to this fifth installment shows a clear evolution—not just in technical proficiency, but in the depth of their conceptual inquiry. By bringing together voices from different disciplines and backgrounds, Saint Abdullah and Eomac have created a work that feels less like a collection of songs and more like a living, breathing ecosystem.
For fans of the artists, the pre-order for ‘When The Sandbox Has No Edge’ is currently available via Bandcamp and other major platforms. The anticipation surrounding the October release is a reflection of the growing influence that both Saint Abdullah and Eomac wield within the experimental community. They have managed to create a niche that is entirely their own, where the political is personal, and the electronic is profoundly human. As "Cyphers Become Sifr" continues to circulate through the airwaves and digital spaces, it sets a high bar for what promises to be one of the most intellectually stimulating and sonically adventurous releases of the year. In a world increasingly defined by walls and borders, Saint Abdullah and Eomac remind us of the transformative potential found in the moments when those edges finally disappear.
