Originally, it was a composition project written for six musicians from the Muzzix collective, performed several times in public. And sure enough, the music may be generated through improvisations, edited later on, the result is quite interesting.
Maybe a bunch of shorter pieces is not what you expect from this label, but it works well in terms of variation. The music has a moody character, especially when Bramnk bowes his glass, and it gets a rather unsettling feeling. Sometimes, he plays slow and thoughtful, and on other occasions, a bit more chaotic and random, but nothing sounds all too traditional improvised percussion music.
I prefer Bramnk when he slowly explores the objects and the surfaces to create textured music. Jonathan Deasy is no stranger to the readers I should hope , even when not all of his work is reviewed. From his previous work, we know him as a composer who loves to work with digital technology, which we may call a laptop artist, yet his results are pretty warm and beautiful.
I am inclined to think the sine waves are from the lower end of the spectrum, but maybe they are not. I may have glanced at SuperCollider once or twice in my life, but the higher mathematics of this software eludes me. However it works, it works very well in the hands of Deasy. The slowly ascending and descending notes sometimes give the music a dramatic feeling. Best enjoyed, at least here in these surroundings, on an average volume, and let this roll about slowly in my environment.
The last one is by Colin Andrew Sheffield, who has run the Elevator Bath label since the mids, which is also when he started to play music. Some 25 years ago, there was all the rage. Sheffield used this piece as part of his short film, comprising recontextualised scenes from old movies, some of which grace the cover.
