Noise nuts, metalheads and experimental techno types, take note: A young "classical" composer is raiding all your scenes. Built completely from his electronic kit and heavily processed guitar playing, in seven cuts Mario Diaz de Leon leaves behind the chamber ensembles he normally writes for in favor of ambient-doom electro-metal. The slow three-chord stomp in "Hypnocaust" is a highlight. And the arpeggiated synths in "Faithless" are almost danceable, until the bottom drops out and the aggro part comes in. This is the extreme-music/classical crossover album of 2012, surely.