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The miniature clicks, pops and whirrs of modern / error really seem to probe into my brain, drilling from each side with very distinct right/left separation. Everything smooths somewhat as the track evolves. Static outbursts, twirly electronic strands and what seem to be general shuffling around noises take a new / path (1:40) along an extremely granulated trail.
remote / beauty is awash in glitchy comings and goings and a series of semi-rhythmic pulsations; phantasmal guitar memories make for an odd loveliness.
Seemingly random fragments make active / freeze sound as if something is burning on a submolecular level, while crystalline crackling noises simultaneously seem to be freezing it. Brief musical bits add a sliced-and-diced sense of melody which churns in sweet abstraction. More infinitesimally small blips of various composition cheep in a slow, almost-tuneful fashion in begin / restore.
Chimingly discordant remnants appear in interior / tone, more dreamily looping through a less jarring backdrop, though one which still ruffles with microactive pops, etc. oto / obje evidences certain spookily wafting tendencies behind a gurgling wall of unknowable sources. Jingling / buzzing bytes and bits of data / i oscillate in self-repeating particle streams which lead into yet another never-before-heard micro-wonderland.
"Squidgy" isn't really a word, but it keeps popping into my head as a perfect adjective for
lin / fill which sputters with wetly buzzy outbursts; it sounds like a tiny microphone was placed in a teeny computerized swamp. Topped with a flurry of machine-like activity, layer / cut (4:16) is allowed to develop more of a continual flow than its hyperfragmentized predecessors.
Geiger counter clicks and muffled organ- and bell-like tones seep through render / point which slowly unfolds like some grainy pixelated flower.
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