Cray

Electro-acoustic noise with assorted field-recording samples, Undo utilises shifts in pitch, timbre and layered noise that is reminiscent of Confield-style Autechre but way more adventurous and a-structural. Listening to Undo is like staring into a stream, observing the movements of currents, eddies, ripples and waves and envisioning fleeting forms on the surface, only to have them dissipate before grasping what they could be. The sounds on this album, like the surface of a stream, are ever-changing and ever-morphing, challenging the listener to discern his or her own imagined forms in the chaos. If anything, Cray has highly varied noise textures, only not as harsh sounding noise as Merzbow or Aube tends to be, and more fun. Drops of water, hordes of sounds like R2-D2 robots, mechanical noises, samples of dot matrix printers; pretty much anything goes in this fascinating mess. Perhaps the closest analogy to Undo is Farmers Manual, but not as warped, more accessible and speaker-friendly. Undo is as challenging to describe as it is to listen to, but in a good way.