gravity halo

Brainwaves and Duty Cycles Issue 4 - My wavetables for u-he Zebra 2

noreply@blogger.com (Sendy) — Tue, 07 Oct 2014 21:36:00 +0000

Here’s a quick ‘n dirty demo of my collection of waveables made for Zebra 2, which I’m planning to extend further, tidy up, and sell under the “pay what you like” model.

Zebra is a softsynth with oscillators which let you create arbitrary waveforms – up to 16 of them per oscillator, and scan through them, creating morphing, phasing, crossfading between arbitrary, drawable waveforms. You can construct a waveform with control points, or go the additive route and draw graphs of spectra to morph between.

These wavetables can be further modified by many types of “Oscillator FX” which can be ganged and modulated any way you like and operate either on the geometry or spectrum of the waveform in one way or another. The result is a 3D soundspace consisting of thousands of waveforms at any one time, and that’s just one oscillator!

In the video I’m just scanning through the wavetables I’ve made, which are basically synthesis ideas distilled into oscillator models. Things get exponentially more complex when you start to use Zebra’s other features to mangle the waveforms further, which makes Zebra the ideal sound playground and laboratory.

Brainwaves and Duty Cycles Issue 3 - Into Abstraction

noreply@blogger.com (Sendy) — Tue, 07 Oct 2014 21:32:00 +0000

The original goal of the synthesizer was to imitate or even replace existing instruments, but it didn’t take long for a new culture and sound language to develop around synths which could be informed by acoustic instruments, but also cover new territory of it’s own accord. Not only did new sounds appear in their droves, but something unexpected happened – the synthetic versions of pre-existing instruments became valid in their own right, as abstractions of the physical ideal.

A synthetic version of an instrument is essentially a simpler version of that sound, created procedurally out of static sound elements processed in various ways. What it loses in realism it can often gain in becoming an exaggeration, caricature or extreme version of it’s more nuanced point of origin. That is their appeal and why sometimes, composers and arrangers choose synth brass over real brass sounds, for example.

This reduced realism reminds me of the appeal of comic-style art, and other art styles that sacrifice realism for new avenues of expression. A trumpet is a trumpet – a sample of a trumpet is akin to a photograph of a trumpet – and a synth trumpet is a comic book version, a vividly coloured trumpet, with unnatural shading and it’s own language of expression. Trumpet.

What then of the chip music aesthetic? This is essentially taking the analogy a step further. The resources available to those working with sound chips are in many ways a subset of the world of synthesis – now you have simple, repeating waveforms but very little in the way of things to do with them. Yes, you can create complex sounds, with a lot of creativity, but due to factors such as limited voicing (three or four voices was standard for the golden age of chip music) and limited computer horsepower, these came with trade-offs which had to be worked around, often informing the arrangement in the music, providing a context for the sounds and arrangement to interact in new ways.

If synth versions of real instruments are comic-book renditions, their chiptune equivalents are even more abstract and barebones. It’s almost wireframe. Since only a certain amount of detail can be added to such instruments, factors such as pitch bend, vibrato, portamento, volume and waveform variations must be exploited to the hilt, to both impart musicality onto the static waveform (which is in lay-listeners’ terms a buzzing sound) and to impart the character of the instrument you are trying to describe or imitate in the chip music realm.

This is why, to me, good chip music is so revealing about the world of music. It’s stripped to the bare bones, every detail has been economised, and small details matter in a big way. It’s like looking at the atoms of music, or experiencing music at it’s most abstract level.

This is best exemplified by my comparison to acoustic or traditional instrumentation, but it applies to a lesser extent to all sounds, regardless of their intent to represent some real-world equivalent. Good chip music is, to me, the beating heart of all music, regardless of style or taste.

Brainwaves and Duty Cycles Issue 2 - How I learned my work ethic early on

noreply@blogger.com (Sendy) — Tue, 07 Oct 2014 21:29:00 +0000

I can’t say for sure what drew me into my obsession with sound and music. I grew up in a home where music played a fairly large role. My parents played a reasonable selection of music, not too eclectic but varied enough for me to take notice. When music is played a lot it can be hard to notice, but when I was around 5 or 6 I can remember the first few songs I noticed in an analytical way. One was Nik Kershaw’s “Wouldn’t It Be Good”, which I remember for not only a really expressive guitar solo, but that impressive reverse-envelope synth swell leading into it. The other song I remember from that time was “Ballroom Dancing” sung by Paul McCartney – not for any particular musical reason, but simply because it was on a tape my dad always played in the car. I can’t hear this song without smelling the interior of that car and seeing the roads particular to where we used to live.

Computers were also a big part of life in our family, and being a bit of a nerd who got into fashion, music, and all the identity stuff quite late, the home computer was my main source of music aside from what my parents played. The original model Sinclair Spectrum wasn’t hugely known for it’s sound output (although more is possible with it than one might think), but when the Commodore 64 came into my life, it brought with it a jukebox of stripped-down, experimental synth music – sometimes grating, sometimes mesmerising, it was this music that informed my early ears. In fact, a lot of famous music which was arranged for the SID chip, I hadn’t heard in it’s original capacity, so my first exposure to many songs was as SID renditions. In some cases, for example, Hubbard’s rendition of Jarre’s Zoolook, I still prefer the SID version, but that may just be nostalgia.

It wasn’t until I was a couple of years into my teens, after hanging out with some of my older brother’s friends who played a lot of underground dance music, that I really developed my own mature taste in music, rhythmic electronic music featuring breakbeats, ambient and early trance/techno, etc. Before that I liked video game music and “synth music”, in an era when admitting to liking either was likely to get you beaten up! And while it felt weird that I loved synthesized video game soundtracks, and at the time, some kind of guilty pleasure I had to hide from others, it’s nice now that video game sounds are “cool” and I can brag about liking it before it had broader appeal.

While I listened to these SID tracks, in computer games and demos, I had no idea whatsoever about sound synthesis. What I did pick up, however, was that the SID chip (and by extension, any synthesis system) was quite a limited resource, but it could generate endless novelty when the humans programming it proceeded with care and attention. While some soundtracks featured bright, grating, monotonous renditions of butchered classical works rendered in three channels of unfiltered sawtooths, others did things with the sound and the arrangement that blew my mind – sci-fi noises, things that sounded almost like recordings (samples), instrumentation that flickered quickly between two states, providing a vivid and artificial sound. Since a SID is never going to sound like a “real” instrument, you may as well revel in it’s artificiality and explore that in a musical way – if you want real instruments, they are there if you need them (and can play and afford them!)

Way before I began making music myself, the lesson was clear – apply knowledge creatively, add care and attention to detail, and you will be rewarded with great results. And it’s the early chip music pioneers who carved out a pecular sound from limited resources, that I have to thank for this.

Brainwaves and Duty Cycles Issue 1 - What's it all about?

noreply@blogger.com (Sendy) — Tue, 07 Oct 2014 21:25:00 +0000

Ok, so here’s the deal. I’ve been making experimental, non-genre-centric electronic music since 1990 under various names and on various synths, samplers and computers. I create music under the monicker Sendy, whose modus operani is intended as a mixture of limitless childlike experimentation and deadly science, mostly based on cut up breakbeat and drum machine de- and re-constructions, constantly evolving synths and esoteric samples. The first music I remember enjoying as a kid was the pop music of the 80’s such as Soft Cell, Japan, Alphaville, mostly synth heavy stuff with an eclectic base of influences that probably laid the foundation for electronic music today despite being essentially pop music.

Next I became fascinated with the music of my Commodore 64, particularly in the hands of people like Rob Hubbard, who made it clear that inside the beige breadbin was a miniature but fully fledged three voice synthesizer capable of doing things most keyboard synths could only dream of. Then jungle and drum and bass took of in the UK underground, completing and rounding out my core influences and setting me up for a lifetime of endless musical ideas. I stand on the shoulders of the 80’s synthpop giants, the original junglists and the micro music moguls on the Commodore 64 and later the Amiga when I create anything, but I also enjoy and am influenced by the acid house scene, early trance and ambient such as KLF and The Orb, the weird and occasionally funky experiments of Aphex Twin and early Luke Vibert tracks, prog rock, and even the odd dance anthem strewn around here and there.

In addition to music I’m also very much interested in video games and game design, 2D graphic design, writing, films, philosophy, and have been known to tolerate people on occasion. Creativity is one of the few things that makes life more than just bearable and nurturing and promoting creativity is at the forefront of everything I do, because I feel there’s something of a war on creativity going on in mainstream culture these days. I also tend to think a lot and so this blog will be a sort of spillage tray for all my ideas to run into; if I get any interaction from readers and we can bounce ideas back and fourth, so much the better.

I know there isn’t much call for crossover music production/videogame/philosophy/random thought blogs, but the idea of separating the threads beyond giving them different tags is unappealing to me, because the common thread running through everything I post here, without being egotistical (or stating the blindingly obvious) is me. Welcome to my dumping ground, testing area and sounding board!

What you can expect:

Production techniques, ideas, thoughts on electronic music production, consumption and analysis
Synthesizer reviews of both physical and virtual instruments
Reviews of music old and new
Random crap and anticrap
Links to things I’ve created, such as music, computer game levels and hacks, writings, etc
Posts questioning some of the qualities of the music scene today which will probably severely age me (I mean seriously what is up with all the microgenres nowadays?!)
Pictures of snails

Brainwaves and Duty Cycles Issue 0

noreply@blogger.com (Sendy) — Tue, 07 Oct 2014 21:15:00 +0000

Welcome to the zeroth part of Brainwaves and Duty Cycles, a blog I (Sendy) originally started earlier this year and got around to making five posts for before being knocked out of the cycle (perhaps due to a lack of duty? What a brainwave!). Here I'll be re-posting the articles, around six in number, and will then continue sharing my thoughts on music, art and stuff with whoever happens to be reading.

Even if very few people read it, I enjoy writing, and recommend it as a way to organize one's own thoughts and combat negative tendencies (something I think many artistic folk struggle with more than we'd like to admit!). And no doubt more will read it at Gravity Halo than would have done at the original site on Wordpress.

Ok then? Here we go!

Sendy

Sendy Comeback Album and Blog

noreply@blogger.com (Sendy) — Tue, 12 Aug 2014 20:09:00 +0000

Yes, I'm back, and I have loads of music! My album, Fear of Circles, several years in the making, was released a couple of weeks ago. It's been a bit of a slow start, as my ability to do promotion and network (not to mention constantly spam and nag at people 24/7) is, compared to my appetite for creating music, somewhat weedy. If you want to help me cover the costs of sharing my music on Soundcloud and Bandcamp, or if you enjoy the music and want to hear more and make me feel good, please consider purchasing.

If you feel it's too expensive, let me know, and I'll consider lowering the price. I pretty much used the price that was recommended to me by Bandcamp and it seemed somewhat fair. I get very little feedback on my music so every sale, comment or share really does make my day. I can't stress that enough :) If there are any weblog writers out there who would like to review it, or know someone that may fancy that task, please let me know and I'll sort out a promo copy. Without coverage, no amount of working on music will ever see the light of day. That is getting truer by the day. Failing that, it's free to listen to at the Bandcamp site.

Fear of Circles by Sendy

In other news, I started a little weblog called Brainwaves And Duty Cycles a while ago, which I'm going to be dusting off and bringing over to the Gravity Halo blog. Mostly I'll be talking about the philosophy and technical aspects of creating electronic music, but I'll veer off into music reviews, idea sharing, and perhaps a bit of videogame tomfoolery. It's all digital art at the end of the day. I'm also always posting new music, sketches, ideas and gear demos at my Soundcloud page. I'd love to see you stop by and say hi!

Top 10 Albums of 2013

noreply@blogger.com (ruiend) — Sat, 14 Dec 2013 01:11:00 +0000

It's that time of year again folks. 2013 has been an incredible year for new music, the best in recent memory. Last year this was only a Top 5 but this year it was hard to cut it down to only 10.

#1 Kurt Vile - Wakin On A Pretty Daze
Have been obsessed with this record all year. Pure pop.
Key Tracks: Girl Called Alex, Too Hard, Air Bud

#2 Blondes - Swisher
I first heard this on youtube straight through, infact I only recently bought this, I've been listening to the youtube all year, and as that is how I first experienced it, I sort of prefer it that way and the visuals are great too.
Key Tracks: Elsie, Andrew, Poland
Full Album Stream:

#3 Machinedrum - Vapor City
I have to thank Chris Beak for helping me realize how great this album is. I liked two tracks on room(s) so wasn't expecting to like this, but it's an absolute corker.
Key Tracks: Eyesdontlie, Rise n Fall, Baby It's U

#4 Jon Hopkins - Immunity
Reminds me of Luke Abbott who is a favourite of mine. This is another album that demands to be listened to straight through.
Key Tracks: Open Eye Signal, Sun Harmonics, Collider

#5 Baths - Obsidian
I'm a sucker for electronics with vocals, what can I say.
Key Tracks: No Past Lives, Miasma Sky, No Eyes, Earth Death

#6 David Bowie - The Next Day
This album by all rights, should not have been this good.
Key Tracks: The Stars, Heat

#7 Tim Hecker - Virgins
This was a very late entry. Some of this list is music I like to listen to but this one is music I want to make (and listen to I guess). I found this record very inspiring. If it had come out earlier in the year (than October) and I had more time to digest it may have placed higher.
Key Tracks: Stigmata I, Virginal II, Live Room

#8 Holden - The Inheritors
This album and the Jon Hopkins album are connected for me somehow. A Circle Inside A Circle Inside is one of my favorite tracks of the year.
Key Tracks: ||: A Circle Inside A Circle Inside :||, Gone Feral, Blackpool Late Eighties

#9 Boards of Canada - Tomorrow's Harvest
Dark in places and has tracks that sound like they could have been made any time in the last 20 years, Telepath for example sounds straight off of Geogaddi, Cold Earth sounds like it's from the Beautiful Place EP. But when those old records are such classics this is a good thing rather than a dig.
Key Tracks: Jacquard Causeway, Reach for the Dead, New Seeds

#10 Forest Swords - Engravings
Another late entry into the top 10, there is something very unique about this guys sound. I could do without the sufi vocals though.
Key Tracks: Thors Stone, The Plumes, An Hour

Honorable Mentions: Mum, John Wizards, Haxan Cloak, Huerco S., Kibble, The Field, Egyptrixx, Nick Cave & The Bad Seeds, Fuck Buttons, King Krule, Bibio

Now go make some music.

Andrew

mummyshroud - SensiCare [tracks]

noreply@blogger.com (m-S) — Thu, 23 May 2013 01:26:00 +0000

Los Angeles' mummyshroud is back in action with a new sizzler called "SensiCare". If you've heard mummyshroud before, you know to expect some mutant dancehall with a heavy dose of hip-hop and IDM laced throughout. This one's got a sick, rubbery bassline, some ethereal organ stabs and a riddim that punches like Pacquiao. If you haven't heard mummyshroud before then...well...SMH. Get on it!
I've been promised more mummyshroud material in the near future, possibly even an EP, so stay tuned!

Com-S - Sunken City Acid [video]

noreply@blogger.com (m-S) — Sat, 11 May 2013 02:46:00 +0000

Been quiet for awhile, but haven't been completely inactive. Com-S is another one of my projects focused on spontaneous lo-fi, live, hardware-based techno of the old school variety - no computers involved except to normalize and upload the recordings. This track "Sunken City Acid" is a funky Detroit-influenced acid house track with a heavy underwater vibe (obviously you're thinking Drexciya and I'm thinking I like what you're thinking). The video is a live feed of the track's recording. Expect a full record of tracks like this one in the near future!

Sendy - Coastal Erosion (tracks)

noreply@blogger.com (Sendy) — Mon, 29 Apr 2013 23:01:00 +0000

Here's something I've been working hard on. I'm trying to get that "ear hugging" mix sound to provide some contrast with my typical "sensory bombardment" - or possibly even combining the two. I'm very happy how it turned out! You know when you complete a project and besides having the finished result you also feel "I learned something"? That's where I'm at right now :)

Awkward = Kibble > February

noreply@blogger.com (ruiend) — Tue, 09 Apr 2013 16:22:00 +0000

Awkward is back with a new alias and a new album. The self titled album from Kibble was created entirely in February in a creative spurt for the RPM Challenge 2013. Stream or download it here:

Kibble by Kibble

Some Christmas Downloads From Me to You!

noreply@blogger.com (Sendy) — Tue, 25 Dec 2012 20:25:00 +0000

What is the haps? Sendy here... It's Christmas and what better way to celebrate than giving the gift of music? Ahh, who am I kidding? I'm just another electronic music artist out there clamouring for your attention in a saturated, jaded and devalued market. If you so much as like or listen you're giving ME the gift! But I did want to do something to say thanks for all the subscribers and commenters on Soundcloud who have made my music making routine a lot brigher and more interesting. These six downloads picked from my back catalogue from as far back as 1998 are for you!

TEFOSAV Aggregation Project 0x0004

noreply@blogger.com (ruiend) — Mon, 24 Dec 2012 19:38:00 +0000

Our good friends at Tefosav have a lovely end of the year compilation available for free streaming or purchase via bandcamp. Regular readers may recognise one of the tracks.

"The End Of The World Is Nigh... well, perhaps not, but the end of the year is definitely nigh. This End of Year compilation from TEFOSAVians old and new may end up being the last ever released according to the Mayan's... So in honour of our proto-paleolithic neighbours we have created a themed musical send off. "

TEFOSAV AGGREGATION PROJECT 0x0004 by TEFOSAV

Emoticon - We Have Flame

noreply@blogger.com (ruiend) — Mon, 24 Dec 2012 19:33:00 +0000

Emoticon has dug out his ambient back catalogue and put together a compilation titled 'We Have Flame'. He says:

"I'm pleased to announce the (self) release of my debut album "We Have Flame", featuring ambient tracks from 2003 to 2012. It is out next month (Jan 2013) on CD (I'm pressing 50 copies) and available to buy from next month for just £6 plus postage."

Awkward's Top 5 Albums of 2012

noreply@blogger.com (ruiend) — Thu, 06 Dec 2012 23:01:00 +0000

Perhaps a little early but I've compiled a list of my favourite albums of 2012. I'm not usually so organized but this year these albums stood out and didn't seem to be getting enough attention.

#1. Sun Araw & M. Geddes Gengras Meet the Congos - Icon give thank
As a big fan of Sun Araw's work (and to a lesser extent LA Vampires) and the Congo's classic "Heart of the Congos" I nearly dropped my bong when I saw this collaboration had happened and it was out already. Then I heard it. And now it's my #1. Jah love/

#2. Alex Under - La Maquina De Bolas
Came to this with no knowledge of Alex Under and no expectations and just love this record. Stunning minimal techno dub or something.
Bola 6.2

#3. Julia Holter - Ekstatis
Heard about her before I heard her so had some expectations for this one but on a couple of listens this album really got to me. There are 2 versions of this track on the album, it was hard to pick which to include.

#4. Animal Collective - Centipede Hz
Initial I found this record hard to like but I slowly came to love it. This track was the first I heard and is still my favourite. This record has a great energy to it and flows beautiful track to track.

#5. Portico Quartet - Portico Quartet
Some dark english jazz. Not much to say about it except it's brilliant, just listen.

Honourable mentions for: Lukid - Lonely at the top, Grimes - Vision, Why? - Mumps, etc, Bat For Lashes - Haunted Man, Moon Duo - Circles, Nathan Fake - Steam Days

Fah - Fahzers Set To Earth [albums]

noreply@blogger.com (m-S) — Fri, 23 Nov 2012 01:33:00 +0000

So psyched for this new record by Fah, "Fahzers Set To Earth". The first track on this preview, "Not Enough Fahzers" rocks a seriously vicious bassline, with the second track "Casting The Rod" following suit and adding some heavily portamento'd monosynth melodies. In the third section Fah serves up a plodding, cyberpunky groove titled "Glowism" and the mix comes to an epic close with "Magnetic Freedom", sporting a bubbly analog bassline and heavily featuring a sick swinging 808 beat (the 808 is all over these tracks actually). If that wasn't quite enough for you, consider the title track, "Fahzers Set To Earth" in the video below, a dark, luscious Drexciyan beast of a track.
This is a limited edition (250 copies) 12", the first installment in Central Processing Unit's "highly collectable" binary catalogue series. Release date is January 21st, 2013.

Mumkai - Hyperion [tracks]

noreply@blogger.com (m-S) — Fri, 16 Nov 2012 21:37:00 +0000

A new one from Mumkai here. This is a supreme banger titled "Hyperion" with some sick atmospherics, nice beat work and an epic distorted guitar line. You might not be ready for it, but here it is.

moto-SLAVE - High Saturday Acid [video]

noreply@blogger.com (m-S) — Thu, 15 Nov 2012 22:11:00 +0000

One of the main problems with the rackmount Roland MKS-7 is that it has no patch memory and it's only editable via a single slider on the front panel (which is unfortunately not working on mine). One of the main upsides is that it sounds amazing and is probably the biggest workhorse in my studio set up. 4-parts; a 4-voice Juno 106, a 2-voice Juno 106, a monophonic bass synth based on the SH-101 architecture and a TR-707 thrown in for good measure. All around an amazing synth, but when you throw in a Behringer BCR2000 rotary knob controller it becomes a beast! I finally got the BCR programmed to control the MKS's parameters, so I made this little track to demo the results. An ultra simple track with some seriously squishy acid rinsing. Enjoy!

Zander One - Echoate

noreply@blogger.com (ruiend) — Tue, 13 Nov 2012 21:19:00 +0000

Dub Techno fans rejoice! Recycled Plastics keeps up its run of quality releases with this wonderful album, available to stream, free download or buy as a limited edition CDr with bonus tracks for $8.

Current favorite track Iceberg.

Iceberg by Zander One
Hear the whole thing here: http://recycledplastics.bandcamp.com/album/echoate

And check their site for more releases http://www.recycled-plastics.net/

Update:
Awkward was inspired to produce a remix of the track 'Once In Time' under his direwolf alias:

Ourson - Osn

noreply@blogger.com (ruiend) — Mon, 12 Nov 2012 22:10:00 +0000

Drone fans rejoice, for Ourson returns with Osn, an ocean themed Ep available via bandcamp for either free streaming or $4 download. Ourson is the moniker of earstoke boss Luke Hazard. You can hear this other EPs on bandcamp too.

Osn by Ourson

Legowelt's Korg Mono/Poly Sample CD

noreply@blogger.com (ruiend) — Tue, 30 Oct 2012 18:04:00 +0000

Gravity Halo favourite Legowelt has created a sample pack from recordings of his classic Korg Mono/Poly Synth. We're sure this is going to be popular with gearheads without the analog ca$hflow.

http://www.legowelt.com/

If you make anything with this let us know and we'll post it up. And consider donating to say thanks.

Tefosav Aggregation Project 0x0002

noreply@blogger.com (ruiend) — Sat, 27 Oct 2012 00:02:00 +0000

Our friends over at Tefosav have a halloween compilation out today. Shalloween below is my current favorite. Dissolved who has appeared on the blog before also has a great track on it too. Infact it's all great so go listen.

"On All Hallows' Eve the ghouls and ghosts come out to play. Like all good denizens of the dark, the TEFOSAV collective has generated some suitably spooky sounds for the creatures of the night to enjoy on this most inauspicious of unearthly evenings. For the mere humans amongst us here lies an artifact to brace ourselves against the shambling of the undead. "

TEFOSAV AGGREGATION PROJECT 0x0002 by TEFOSAV

Bandcamp:
http://tefosav.bandcamp.com/album/tefosav-aggregation-project-0x0002

Com-S - Dark Moon River Walker [videos]

noreply@blogger.com (m-S) — Fri, 26 Oct 2012 21:25:00 +0000

I've posted a few of these in-studio videos over the last few weeks under the moto-SLAVE alias, but I've decided that these don't quite jive with that project, so I'm busting them out on their own under the name Com-S. As time progresses, I'll drop some more details about the background of these tracks and the concept behind them (there's always a concept with me...I'm a fucking geek), but for now it's just music. This track features some elastic JX-3P basslines, swirling arpeggios, crisp drums, vintage melodies and some mystical desert pads underpinning it all. Kindly disregard the little masturbating dog in the background of the video...nothing to see there.

Sendy - Cut from the Glow [tracks]

noreply@blogger.com (Sendy) — Wed, 24 Oct 2012 22:22:00 +0000

Here's another track for you, inspired by the ramshackle subterraenean dwellings, winding tunnels and honeycomb chambers of a place I sometimes see in my dreams. A bit of a dub influence in this one with some erratic, polyrhythmic acid underpinnings and all that good stuff. Enjoy ^_^

Missqulater - Sprung [tracks]

noreply@blogger.com (m-S) — Sat, 20 Oct 2012 21:00:00 +0000

This new track by Missqulater is quite a departure from his more acid-centric material and...I fucking love it! Really sick vintage space disco vibe going on with plenty of synthy goodness, a super funky bassline, throwback melodies galore and that bit of off-kilter wonkiness that makes it a characteristically Missqulater track. I could definitely do with a whole record of this kind of stuff!