SEKTOR VOLTAGE — EN OTRA DIMENSIÓN [ARGENTINA ] AN INTERDIMENSIONAL COLLISION OF EBM, POST-PUNK, DARKWAVE, FAITH AND DIGITAL-INDUSTRIAL CLAUSTROPHOBIA FULL ALBUM REVIEW BY GORDON LAWRENCE TAYLOR — VOICE IN THE VOID
Artist: Sektor Voltage [Argentina 🇦🇷] Album: En otra dimensión Artist: Nicolás Pomilio Location: Greater Buenos Aires, Argentina 🇦🇷 Year: 2026 Tracks: Eight Styles: Electronic Body Music / EBM, Post-Punk, Darkwave, Coldwave, Synth-Punk, Industrial, Motorik and Electronic Underground Music Press: Sinistra PR [United States 🇺🇸]
SEKTOR VOLTAGE [ARGENTINA 🇦🇷] — ENTERING ANOTHER DIMENSION
There are records that reproduce the vocabulary of the past, and there are records that enter that vocabulary, dismantle it and reconstruct it around the psychological conditions of the present. Sektor Voltage’s En otra dimensión belongs firmly to the latter category.
The Buenos Aires solo project of producer, guitarist and vocalist Nicolás Pomilio, Sektor Voltage emerged in 2020 from an experimental search that originally moved through techno, Belgian New Beat, Electronic Body Music and darkwave before progressively introducing a more physical relationship between electronic sequencing, guitar and voice. Pomilio’s earlier albums—Amor a mi negra lista (2023), Animal en extinción (2024) and Oscura noche del alma (2025)—established an evolving vocabulary of darkwave, industrial textures and EBM before En otra dimensión pushed the project further toward post-punk, coldwave and guitar-led body music.
The historical architecture surrounding the album is substantial. Kraftwerk [Germany 🇩🇪], Depeche Mode [United Kingdom 🇬🇧], early Ministry [United States 🇺🇸] and Front 242 [Belgium 🇧🇪] appear within Pomilio’s electronic genealogy, while the later emphasis on guitar and post-punk draws upon figures including The Cure [United Kingdom 🇬🇧], Opéra de Nuit [France 🇫🇷], Malaria! [Germany 🇩🇪], X-Mal Deutschland [Germany 🇩🇪] and Siekiera [Poland 🇵🇱].
Yet En otra dimensión is not an exercise in archaeological reconstruction.
The important question is not whether Pomilio can reproduce the sound of a particular European underground period. He clearly understands those languages. The more interesting question is what happens when those languages are transplanted into contemporary Buenos Aires [Argentina 🇦🇷], placed in the hands of one musician and forced to coexist with his own ideas concerning faith, consciousness, isolation, instinct, psychological darkness and the increasingly blurred boundary between human beings and machines.
That is where En otra dimensión becomes far more interesting.
THE BODY, THE MACHINE AND THE OTHER DIMENSION
The title translates as “In Another Dimension.”
That phrase provides the conceptual framework for the entire recording.
Pomilio describes the record in terms of the soul moving beyond the visible world into astral realms. Motorik rhythm, post-punk guitar, futuristic synthesisers and his cavernous voice become the mechanisms through which that movement takes place. The artist’s statement deliberately leaves the final act to the listener: entering the other dimension is possible, but returning from it is another matter.
This creates one of the record’s central contradictions.
EBM has always been fundamentally physical music. Its repetitive percussion, sequenced bass and disciplined rhythmic structures are designed around the body. Yet En otra dimensión repeatedly talks about leaving physical reality.
The body wants to move.
The consciousness wants to escape.
The machinery keeps both under control.
This tension runs throughout the album.
Motorik repetition becomes more than rhythm. It becomes transportation.
The sequencer becomes a pathway.
The synthesiser becomes atmospheric architecture.
The guitar becomes interruption, fracture and resistance.
And Pomilio’s voice becomes the human presence caught somewhere inside the system.
FROM EUROPEAN BODY MUSIC TO BUENOS AIRES [ARGENTINA 🇦🇷]
The album openly acknowledges the historical foundations of European underground electronic music. Its press material specifically identifies motorik-derived rhythm, the Frankfurt old-school electronic environment and Belgian New Beat [Belgium 🇧🇪] as elements within its construction.
But geography matters here.
EBM, coldwave and darkwave have long since escaped the cities and countries from which they originally emerged. They have become international languages, continually reconstructed within new social and cultural environments.
In En otra dimensión, Düsseldorf [Germany 🇩🇪], Frankfurt [Germany 🇩🇪], Brussels [Belgium 🇧🇪], Paris [France 🇫🇷], Warsaw [Poland 🇵🇱] and the British post-punk tradition become historical coordinates rather than destinations.
Buenos Aires [Argentina 🇦🇷] is where these coordinates finally converge.
This is an important distinction because contemporary South American electronic underground music should not be treated simply as a peripheral imitation of European precedents. Music moves. Technology moves. Records cross borders. Scenes mutate.
What Pomilio inherits becomes material for reconstruction.
The result is recognisable enough to communicate with listeners familiar with EBM, darkwave and post-punk, while sufficiently individual to prevent the album from becoming a historical costume.
SOUL AND MACHINES — THE PRODUCTION OF EN OTRA DIMENSIÓN
One of the most revealing aspects of En otra dimensión is the relatively compact technological system from which it was created.
The album was recorded using a Zoom R8 Portastudio. Its drums come from a Kawai R50e, while bass was principally programmed with a Korg Monologue. “Látigo” differs by using a Yamaha QY10 bass sound. A Korg Volca FM and MicroKorg supply synthesis, while additional percussion, backing vocals and string textures were introduced through a Casio SA keyboard. Guitar and vocals were recorded into Ableton, incorporating Zoom R8 effects, with the final master also completed in Ableton.
This matters.
The equipment does not exist merely as a technical footnote. It explains much of the album’s personality.
The Kawai provides rhythmic discipline.
The programmed bass creates repetition and propulsion.
The Volca FM and MicroKorg generate synthetic space.
The guitar introduces friction.
The human voice introduces vulnerability.
Ableton becomes the environment in which these apparently incompatible elements can occupy the same architecture.
What is particularly successful is that the album rarely sounds as though guitar has simply been placed on top of electronic music.
Instead, guitar and electronics increasingly behave as parts of the same organism.
There is a productive struggle between them.
The machines demand precision.
The guitar introduces physical irregularity.
The voice exists somewhere between the two.
That relationship is fundamental to Sektor Voltage.
THE VOICE AS ARCHITECTURE
Pomilio’s vocal delivery is central to the record.
The press material describes it as cavernous, and the description is appropriate. Yet the significance of the vocal approach goes beyond depth of register.
The voice frequently behaves like another component of the arrangement rather than simply sitting above it.
It occupies space.
It establishes scale.
It pushes against the electronic structures while simultaneously becoming trapped inside them.
There is an austerity to the delivery that suits the material. Pomilio does not constantly attempt to dominate the songs vocally. Instead, repetition, tone and placement create authority.
At times the result becomes almost ritualistic.
At others it feels isolated.
This is particularly effective because the album’s themes constantly move between interior and exterior experience: consciousness and machinery, nature and technology, faith and uncertainty, shadow and identity.
The voice becomes the human point at which all those systems intersect.
TRACK-BY-TRACK ANALYSIS
1. “HOJAS NEGRAS” — 4:24
“Hojas Negras” immediately establishes the record’s internal environment.
At approximately four and a half minutes, it is the longest composition on the album, giving Sektor Voltage sufficient room to establish the repetitive physical vocabulary that will govern what follows.
There is momentum from the beginning, but this is not merely speed for its own sake. The repeated rhythmic structures accumulate pressure. Electronic pulse and guitar become progressively interconnected while the vocal remains anchored within the centre of the arrangement.
The title—“Dark Leaves”—introduces natural imagery into a fundamentally electronic environment.
That juxtaposition becomes significant across the album.
Leaves belong to cycles: emergence, growth, ageing, death, decomposition and eventual return. Darkened leaves can therefore suggest both decay and transformation.
Rather than beginning the album with machines alone, Pomilio begins with an image originating in nature.
But nature has already changed.
The listener has entered the record at the point of transformation.
“Hojas Negras” therefore operates effectively as a threshold. It establishes repetition, physicality and darkness while quietly introducing the album’s fascination with organic existence inside an increasingly synthetic world.
2. “EN OTRA DIMENSIÓN” — 3:42
The title composition introduces the album’s conceptual centre.
Its rhythm remains firmly connected to body music, yet compared with the opening track there is a greater impression of dimensional space around the arrangement.
The track feels simultaneously physical and metaphysical.
This is precisely where the album’s central paradox becomes clearest.
How does music designed to control the body become music about leaving the body?
Pomilio’s answer is repetition.
The rhythmic cycle becomes hypnotic enough that physical movement begins to resemble ritual. What begins as a beat eventually becomes a mechanism of altered perception.
The title can consequently operate on several levels.
Another dimension may be spiritual.
It may be psychological.
It may represent the subconscious.
It may represent memory.
It may even represent music itself—the artificial world constructed between loudspeakers and the listener’s imagination.
The composition wisely refuses to explain which interpretation is correct.
Its strength comes from leaving the doorway open.
3. “IN DEN VERBORGENEN WÄLDERN” — 3:31
“In den Verborgenen Wäldern”—“In the Hidden Forests”—introduces German-language imagery directly into the album.
The song was chosen as the first single and was specifically associated with the influence of the German dark underground of the 1980s [Germany 🇩🇪]. Its accompanying video places Pomilio travelling alone through natural landscapes while the music beneath those images remains insistently mechanical.
That contradiction is fascinating.
The forest is one of the oldest symbolic environments in human storytelling.
It represents concealment.
Danger.
Transformation.
Isolation.
The unconscious.
A place where ordinary rules disappear.
Against that ancient image, Sektor Voltage places electronic repetition.
Technology therefore does not remove the listener from nature. It follows the listener into it.
The machines enter the forest.
The resulting track becomes one of the clearest examples of the album’s central aesthetic: natural and psychological imagery translated through mechanical rhythm.
4. “LÁTIGO” — 3:08
“Látigo”—“Whip”—is one of the album’s most immediate body-music constructions.
Its title implies impact, discipline, force and repeated physical contact, and the arrangement reflects that logic.
Everything feels compressed.
There is considerably less interest in atmospheric wandering here. Rhythm dominates.
The track moves through repeated tension and release, with percussion functioning almost as punctuation.
The production information reveals another important distinction: “Látigo” is the track on which Pomilio substitutes the album’s usual Korg Monologue bass approach with a Yamaha QY10 bass patch.
That detail might appear minor, but within a record built upon repetition, differences in bass architecture matter.
The bass is not merely harmonic support in EBM.
It is locomotion.
“Látigo” understands that principle completely.
It is lean, disciplined and deliberately physical.
5. “CEREBRO REPTIL” — 2:51
“Cerebro Reptil”—“Reptilian Brain”—is the shortest piece on the album and one of its most conceptually interesting.
The title shifts attention from spiritual transcendence to something far older.
Instinct.
Reaction.
Survival.
Threat.
Desire.
The primitive biological mechanisms that continue functioning beneath civilisation, technology and self-consciousness.
The supplied audio has a particularly sharp upper-frequency presence compared with several of the surrounding compositions, giving the track an agitated, almost neurological quality.
That brightness does not make it emotionally lighter.
Quite the opposite.
It creates nervousness.
The track feels alert.
Within the conceptual progression of En otra dimensión, this becomes extremely important.
The album may speak about leaving visible reality and moving toward another plane, but the human being attempting that movement remains an animal organism.
However sophisticated our machines become, and however complicated our spiritual systems become, something instinctive remains underneath.
“Cerebro Reptil” gives that hidden system its own track.
6. “DORNEN UND SPLITTER” — 3:58
“Dornen und Splitter”—“Thorns and Splinters”—returns to German-language imagery while moving into a rougher emotional environment.
Both objects named in the title are small.
Neither needs to cause catastrophic injury.
Their power lies in persistence.
A thorn pierces.
A splinter remains.
The title therefore implies discomfort that continues after initial contact.
The music reflects this through accumulated texture rather than a single dramatic event.
Guitar becomes especially valuable here because its physical grain breaks against the electronic grid. The two elements do not neutralise one another.
They create friction.
This is precisely where Pomilio’s movement toward post-punk becomes most productive.
The guitar is not being used to turn EBM into conventional rock music. Instead, it destabilises the precision of the electronic rhythm.
The machine remains intact.
But something sharp has entered it.
7. “TU PROPIA SOMBRA” — 3:09
“Tu Propia Sombra”—“Your Own Shadow”—moves the album decisively toward interior confrontation.
The enemy is no longer another person.
Nor is it machinery.
It is the self.
The concept of the shadow carries obvious psychological significance: suppressed memory, unwanted identity, fear, guilt, instinct and those elements of personality an individual attempts to separate from the conscious self.
But a shadow cannot simply be abandoned.
It moves because we move.
The arrangement supports that sense of pursuit.
There remains an undeniable rhythmic physicality, yet there is also the sensation of circling something that cannot be fully escaped.
Pomilio’s lower vocal register is especially effective in this context.
Rather than sounding like an outside narrator, the voice begins to resemble an internal presence.
The album’s spiritual dimension becomes more complicated here.
Faith may offer direction, but spiritual movement does not automatically eliminate psychological darkness.
The shadow still follows.
8. “ILUSIÓN” — 3:45
“Ilusión” is an excellent title with which to end the record.
After an album concerned with alternative dimensions, hidden forests, instinct, pain, shadow and spiritual movement, the final question becomes unavoidable:
Was any of it real?
Illusion can mean deception.
But it can also mean imagination.
Hope.
Projection.
Dream.
The creation of an alternative reality because ordinary reality is insufficient.
Musically, “Ilusión” retains the record’s rhythmic vocabulary while carrying a comparatively bright electronic surface. That brightness never develops into uncomplicated optimism.
Instead, there is ambiguity.
And ambiguity is exactly what the album requires at its conclusion.
If the other dimension exists only inside consciousness, does that make it meaningless?
Not necessarily.
Music itself exists through a comparable transformation.
Electricity becomes vibration.
Vibration becomes sound.
Sound becomes emotion.
Emotion becomes an imagined space that can appear entirely real while it is being experienced.
Perhaps illusion and another dimension are not opposites at all.
Perhaps one creates the other.
And with that possibility unresolved, En otra dimensión ends.
THE ALBUM ARTWORK — BETWEEN THE ORGANIC AND THE UNKNOWN
The cover of En otra dimensión provides an unusually effective visual extension of the music.
Against an overwhelmingly dark surface, pale petals are scattered across a network of thin, irregular lines. Those lines can be interpreted in several ways: fractured glass, tangled pathways, threads, electrical connections or the mapping of some unexplained dimensional structure.
Nothing is completely defined.
That ambiguity is important.
The petals are delicate and recognisably organic.
The surface beneath them appears cold, almost artificial.
Immediately, the cover creates the same conflict heard throughout the album:
organic against synthetic.
fragility against severity.
nature against constructed space.
physical reality against the possibility of something beyond it.
The album title, written across the central area in luminous blue-white script, appears almost spectral. It seems less printed onto the image than temporarily suspended above it.
Above this, SEKTOR VOLTAGE appears in a much more formal and solid typeface.
The contrast creates two levels.
The artist name belongs to the material world.
The album title appears to belong somewhere else.
The white petals are particularly effective because they resist one of the most predictable visual languages associated with EBM and industrial music.
There are no factories.
No gears.
No obvious machines.
No simplistic industrial iconography.
Instead, technological unease is suggested through surface, fracture, darkness and dislocation.
The artwork therefore does not merely illustrate the record.
It performs the same conceptual operation as the music.
Something organic has entered an artificial environment.
Or perhaps something artificial has invaded the organic world.
The image never tells us which.
That uncertainty makes it considerably stronger.
FAITH, TRANSCENDENCE AND THE INDUSTRIAL PRESENT
Another element separating En otra dimensión from straightforward revivalism is its engagement with spirituality.
According to Pomilio’s artist statement, the record imagines the soul moving beyond visible reality through astral journeys, with faith operating within that search.
This introduces an unusual philosophical tension.
Industrial and EBM traditions have frequently dealt with machinery, discipline, power, technological alienation, physical repetition and dehumanisation.
Pomilio places the soul inside that environment.
Instead of asking only what technology does to the body, En otra dimensión implicitly asks what happens to spiritual identity when existence itself becomes increasingly mediated through machines.
The question feels particularly contemporary.
Humanity now spends enormous portions of daily existence inside electronic systems.
Communication is digital.
Memory is digital.
Identity is increasingly digital.
Music production is digital.
Relationships, work and culture move through systems that are simultaneously liberating and claustrophobic.
Sektor Voltage describes this condition through what the project biography calls digital-industrial claustrophobia: an individual trapped within a technological environment while continuing to search for something fundamentally human.
That phrase may be one of the most useful ways of understanding the entire record.
WHY EN OTRA DIMENSIÓN WORKS
The album succeeds because it understands the difference between influence and imitation.
Its historical references are not hidden.
They do not need to be.
Motorik rhythm [Germany 🇩🇪], Electronic Body Music, Belgian New Beat [Belgium 🇧🇪], post-punk [United Kingdom 🇬🇧 and wider Europe], coldwave [France 🇫🇷 and Europe] and darkwave all occupy recognisable places within the record.
But Pomilio uses those traditions structurally rather than cosmetically.
The drum machine provides discipline.
The sequencer provides movement.
The synthesiser provides dimensional space.
The guitar provides fracture.
The voice provides humanity.
The concept provides direction.
That combination gives Sektor Voltage an identity beyond genre classification.
It would be easy to describe En otra dimensión simply as an EBM/post-punk album.
Technically, that description would not be wrong.
But it would be incomplete.
This is really a record about movement between states.
Organic and electronic.
Body and consciousness.
Instinct and intellect.
Faith and uncertainty.
Nature and technology.
Shadow and visible identity.
Reality and illusion.
The music works because these ideas are not imposed on top of the compositions afterward.
They are embedded inside their construction.
A DISTINCT VOICE FROM THE ARGENTINE UNDERGROUND [ARGENTINA 🇦🇷]
There is also something important about hearing this musical vocabulary coming from Argentina.
International discussions of EBM, coldwave, darkwave and post-punk history frequently return to a familiar collection of European and North American centres.
Yet underground music has never respected borders particularly well.
Technology made those borders even less meaningful.
Sektor Voltage demonstrates what happens after decades of transmission.
A rhythm developed in one country is absorbed in another.
A synthesiser sound associated with one decade is rediscovered by another generation.
Post-punk guitar migrates across languages.
Belgian body music collides with Argentine songwriting.
German vocabulary appears beside Spanish titles.
The resulting work does not belong exclusively to any of those traditions.
It belongs to the point where they meet.
And that point is Buenos Aires [Argentina 🇦🇷].
FINAL ASSESSMENT
En otra dimensión is a convincing evolution for Sektor Voltage.
It retains the disciplined rhythmic foundation expected from EBM while allowing guitar, post-punk tension and atmospheric electronics to become increasingly important. More significantly, Nicolás Pomilio gives those musical elements a conceptual environment substantial enough to justify their coexistence.
Across eight tracks, the listener moves through images of darkened nature, altered dimensions, concealed forests, physical discipline, primitive instinct, continuing pain, confrontation with the shadow and finally illusion.
The album does not present darkness as an aesthetic endpoint.
Darkness is the environment through which movement takes place.
That distinction is important.
There is considerable historical memory inside this record, but En otra dimensión does not remain trapped in that history.
It takes machinery inherited from previous generations and asks contemporary questions with it.
What remains human inside technological existence?
Can repetition create transcendence rather than confinement?
Can the body dance while consciousness attempts to leave it?
Does faith survive inside machinery?
Can an illusion become real enough to transform the person experiencing it?
Sektor Voltage never completely answers those questions.
The album is stronger because it does not.
Instead, Nicolás Pomilio builds the doorway, activates the machinery and allows the listener to decide whether to enter.
Returning is another matter entirely.
TRACKLIST
01. Hojas Negras — 4:24 02. En otra dimensión — 3:42 03. In den Verborgenen Wäldern — 3:31 04. Látigo — 3:08 05. Cerebro Reptil — 2:51 06. Dornen und Splitter — 3:58 07. Tu Propia Sombra — 3:09 08. Ilusión — 3:45
