"The first of these two pieces is pure dancefloor fuel: loops salvaged from tattered sheets of static and electronic whimpers draped off the stereo edges like earrings, driven by a bass drum that sounds like a steel-capped boot kicking a plastic drainpipe...
The second track is just as rich in groove, albeit written in the fault lines that run along the blocks of static. A dialogue becomes apparent between the stammering hiss in the background and the gunk that splatters the fore, skipping along in light-footed syncopated steps....
There’s the raw sound and me, with nothing in between. When listening over headphones, the effect is peculiar – the sound feels so incredibly close, as if sparked from the circuitry within the headphones themselves. The screams of crossed-wire faults. The crackles of dulled copper. These digital scraps gather mass, the edges hardening into crust, and they reach my ears as tactile sensations rather than sounds: an experience often more akin to holding objects while blindfolded rather than an act of listening, feeling the abrasion against the inside of my head, gathering wounds in each ear canal..." Jack Chuter, ATTN Magazine
Released January 26, 2019
Mira Martin-Gray: Manipulated mixing board, computer