An absurdly spartan, “industrial” cover with hyper-straight graphics and bar codes introduces three movements of austere, cold, utterly detached electroacoustic phenomena. Notwithstanding, there is much to like here, uncommon occurrences of intense events attacking the tranquillity of the aural scenery while painting an evolving picture of approximating danger and undisguised evil energies. In “13:46″ we’re welcomed by the overwhelming force of a mechanical rotation gradually withdrawing its violence in favour of implosive hums and swelling power-drones. “11:04″ shows yet another aspect of the duo’s personal jargon, peeping clicks and digital noises mixing with silence in a chain of not-yet-progressed, undecipherable evolutions. “25:09″ is the “quietest” track, a fresco of hush and sparse electronic ellipses whose substance is directly proportional to a longer duration. Baghdassarians and Baltschun score significant points by remaining concentrated on the sheer sonic matter; their intimate relationship with the sounds functions like a magnifying lens over a microcosm awaiting to be understood by inquisitive individuals.