Only 14 minutes (yet another 3-inch, folks) yet stimulatingly efficient for testing the reactions of your systems (both physical and hi-fi). Brewster and Henning, who are based in Malmö, Sweden, improvised this music (October 2007) through no-input samplers, no-input mixers, effects and a cassette player. The final results were edited and remastered two months later, the names of the recording and mastering places giving the work its title. Not a lot of new ground broken in this one, but there are no moments of boredom either; the customary mixture of feedback, vibrations, tremors, crazy slides, drilling and guerrilla-like electrostatic activities changes continuously, overlapping congruities and discordances with the same ear-splitting facility of a computer whose hard disk has gone berserk. The samples are spliced, fragmented and reprocessed, acts not regulated by any law, the artists willing to let the machines go wherever their mechanic instinct tells them to. We’re constantly forced to curiosity by this dynamic horde, a multitude of stimuli that lets the time flow even faster than we thought. It sounds very natural, in spite of all.