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=E2=80=9CDestiny=E2=80=9D begins as a crackling, spitting static with inter=
ludes of effervescent clicks like details of the whole squall, foregrounded=
 against an out-of-focus noise wall. Bells and chimes, fluid sounds, and os=
cillations that were maybe always there slowly substitute the static by the=
 end of the track as if an adjustment in resolution revealed smooth lines f=
rom the snow of discrete points. What happens here appears to occur within =
tracks and their sets of materials as well as across the total record. Anal=
ogous textures from disparate sources surreptitiously smooth from discrete =
points towards line like seeing shifting pinscreens for their gestalts.

Record loops whirr, buzz, and sigh. Their playback populated by a polyrhyth=
m of pops and crackle and static evoking comforts similar to TV snow, white=
 noise machines, and their electric waves. Chordal fragments from guitar sw=
ell as easy as breathing deeply. And together they make for a pleasant ambi=
ance and feel-good vibes, calm undulations in parallel through sustained du=
rations. But after some time the guitar awakens, turns up the gain, and pla=
ys an unabashed retro solo that might seem silly if not so sincere and so s=
eems uplifting. Between the two, the studio version opts for softer guitar =
attacks and gentler record sounds, a hastier arrival to the guitar melody, =
and an addition of Ovalesque skipping melodies to its mille feuille. The li=
ve version opts for a crunchier, dynamic sound bed and plays with the shape=
 of chords, changing how each fades into the electric environment, shifting=
 between crisp attack and subtler materializations, and accentuating the pa=
lette of fragmentation in a way as broad as the records=E2=80=99 glitched m=
aterial.

The first suite is speckled by glitched chitter and bleep bloop tunes, stri=
ng twangs and sonic drawing, but nearly everything else is airy. A muted ye=
t oppressive presence like a whipping wind rumbles. A motor purrs and choke=
s. Clarinet=E2=80=99s air notes and quavering voice undulate and fade as if=
 caught and carried away by the wind. The lisp and wisp of fricatives in th=
e voice accentuates the breath. Fan hum changes color with the interference=
 of objects around its blades. Dynamics and speed become audibly tied to pr=
essure. And in this context the beating of lloopp sines and fan resonance v=
isualize the air waves they are. The second suite is all alarm clock from f=
an blade, looped scream, knocks and clacks and bell tolls like some dystopi=
an worksong which fades to a faint ticking alongside a somber melody and so=
ng as if to underline the labor of the motor and the body behind the lighte=
r material of air.


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