A longtime purveyor of ambient glitch, Australia’s Pimmon (aka Paul Gough) belongs to the same generation of avant-garde laptop musicians that delivered Oval, Christian Fennesz, and other conceptual electronic musicians who emerged in the mid- to late-90s. But because of the distant geography of his country, Pimmon’s output never fully pierced the mostly European clicks n’ cuts movement the way others managed. But that’s not to say that Pimmon’s accomplishments don’t deserve a much wider audience, and this year’s MUTEK hopes to rectify that oversight. Gough uses technology to shape compositions based in granular synthesis, often using elements such as pitch and sound debris to form soundscapes that are once maximalist in texture and yet minimal in overall design. Buzzes and clips, organic rumbles, and electrical pulses all pass along unpredictably in the slow current of his prolific discography, which has found a plethora of home over the years on labels such as Tigerbeat6, Fällt, Cromim, and many others.