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\u201CDestiny\u201D begins as a crackling, spitting static with interludes of effervescent clicks like details of the whole squall, foregrounded against an out-of-focus noise wall. Bells and chimes, fluid sounds, and oscillations that were maybe always there slowly substitute the static by the end of the track as if an adjustment in resolution revealed smooth lines from 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. Analogous 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 polyrhythm of pops and crackle and static evoking comforts similar to TV snow, white noise machines, and their electric waves. Chordal fragments from guitar swell as easy as breathing deeply. And together they make for a pleasant ambiance and feel-good vibes, calm undulations in parallel through sustained durations. But after some time the guitar awakens, turns up the gain, and plays an unabashed retro solo that might seem silly if not so sincere and so seems 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 live 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 palette of fragmentation in a way as broad as the records\u2019 glitched material.
The first suite is speckled by glitched chitter and bleep bloop tunes, string twangs and sonic drawing, but nearly everything else is airy. A muted yet oppressive presence like a whipping wind rumbles. A motor purrs and chokes. Clarinet\u2019s air notes and quavering voice undulate and fade as if caught and carried away by the wind. The lisp and wisp of fricatives in the voice accentuates the breath. Fan hum changes color with the interference of objects around its blades. Dynamics and speed become audibly tied to pressure. And in this context the beating of lloopp sines and fan resonance visualize the air waves they are. The second suite is all alarm clock from fan blade, looped scream, knocks and clacks and bell tolls like some dystopian worksong which fades to a faint ticking alongside a somber melody and song as if to underline the labor of the motor and the body behind the lighter material of air. 350c69d7ab