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nosei sakata of Tokyo is 0, and richard chartier of Washington D.C. is r; track titles (like r/0) indicate the order in which each artist worked on each track. From computerized sound fragments, the artists weave a minimalistic, 64.5-minute soundweb featuring 13 tracks of digital intricacy.
Following the barely audible frequencies of brief intro 0r, the second track, 0/r, grumbles into existence, laced with blips and pops. One of the more "musical" moments occurs when the ringing tones of 0/r/0 echo and loop amongst themselves, replicating and chiming in a double-helix of sound.
Particularly buzzy, 0/r. pulses and surges with a quiet forcefulness, brooding with a latent power which is joined by higher pitches and subatomic ruffles.
Between the resonating warbles of 0/r/0.., you can hear the crunchy rhythm of 1s and 0s being ground into digital dust. Droning like a distant generator, Sakata's "solo" piece 0 is a dense, low thrum of warmth decorated by fluttering ripples and faint clicks.
A stop-and-start assemblage of static hisses, mechanical whirrs, high frequency rings, spacey soundwaves, electromagnetic rumbles and intermittent pops , 0/r/0... (12:07) seems to be a collection of random snapshots from the core of the machine. Chartier's r reveals the ephemeral microcosm of free-floating electrons which flit about like tiny, glowing particles living within a larger mechanism. The disc closes with the short rumble which is 0/r/0/r (:39).
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