JDG stands for John D. Gore, alias the man in charge of this and other fine labels active in the lands of low-profile-good-quality abstract music and a very prolific artist under various monikers (for example, Kirchenkampf). In “Living underground”, Gore used as exclusive source material Robert Carlberg’s field recordings from the “Anode Urban Soundscape Series”; it goes without saying that the idea of vast metropolitan areas as seen (and heard) from long distances is what defines the “discouraging beauty” of this opus, whose platform is the unpromising whooshing that the compositional preference inevitably determines. We manage to distinguish engines, metallic clangours, even birds, sirens or whatever the mind suggests it’s there (and usually is) but, by and large, the feel is one of a massive droning undercurrent. It doesn’t take an eternity for the sounds to establish their authority on the nerves, in that peculiarly habitual occurrence according to which an accumulation of noise gets nearer to the beneficial effects of silence almost more successfully than a semi-quiet environment. The same applies here, an entrancing fusion of nihilism and beatitude that works wonders when echoing in your own setting.