***A stereo version of the eight-channel piece commissioned for a Trondheim art biennale, distilled into less than 30 minutes. KIM MYHR and LASSE MARHAUG's five-part suite—recorded using analogue and modular synths, oscillators, electronics, acoustic objects, and guitar—drops the listener directly into the flow of a grittily occluded drone mixed with looping spirals of static crackle and machine thrum. It then spreads outward to enfold soft, throaty swelling noises and ethereal melodicism, before morphing from a loose, gravelly scrape and skitter into quease-inducing electronic stridulation, and guitar-based sci-fi electronica, scrunchy microsound scumble and amplified infinity roar. It finally flows into bassnote pulse, and as everything else dies away, that pulse resolves into something like the clunk of a pickup cartridge, bumping and scraping runout groove.