The apparent simplicity which unites those coming from “glitch”agendas with those coming from the darkest fringes of the dancefloor necessitates a drift around the fringes of the scene, skirting the least Euclidean sectors of the dancespaces and headspaces. But snd leave clues as to their seeing of a wider topology away from the “field studies”mentality of the minute glitch collectors, and makesnd cassette ensures that any schematics for a new digital masterplan are written with soluble ink on blotting paper. A mathematical analysis of this scene works to some degree, but obviously doesn’t go far enough.

Whence it has been suggested that this music operates “between 0 and 1”—focussing on infinity not as some techno or trance defined idea as progressing to an invisible point of ecstatic oblivion, but instead as a highly introspective and bifurcating process—this definition can play into the hands of those who wish to enforce this critical distance between source and process / product.Thus many tracks may exist as reconfigured fragments from something much greater, but this fetishises a process of piecing back together whilst the original dissection is left imagined as something akin to a laboratory technician’s specimen tank. Listen again to makesnd cassetteand you hear the swarming existence of various source sounds, not taken and stripped back a priori to reconfiguration, but taken and stripped back to model some process of natural decay glimpsed in both the swell of the speaker system and the rebelling headspace of the nurtured nightclubber. In some instances that’s all there is, modelled decay processes left to stimulate the mind: music on the verge of unbecoming music, yet still retaining a vast grace and elegance. All the time collapsing and all the time rebuilding—not through some textbook process of cold, clinical modelling, but through radically changing topologies and geographies. (I.M.Trowell)