Presently dis-placed in East London, Rosy Parlane, Rohan Thomas and Mattin
work in a casual ferment of compulsive experiment, near-profligate
collaboration. While all three know how to wrest beauty and ugliness from
acoustic and electric instruments, the equipment for these dates, as for
recent Sigma Editions and w.m.o.r. recordings, will be three lap top
computers. This fixed element aside, methods and results are heterogeneous.
Dense meshes of prepared and haphazard sound my or may not include some of
the following: shifting, irregular rhythmic clusters, uneasy quasi-silences,
gouts of scabrous feedback, rich harmonic resonance. Whether sonic trace
elements are seized and transfigured in 'real time' or stored and slowly
crafted, one constant is the digital plane's corruption by intuition and
hesitation, the productive tension and perpetual feedback loop between
tentative human judgement and its mediation through machines.