A chokingly powerful session of elemental feedback noise from one of iDEAL’s foundational players. Arriving some 13 years after his first missive for Joachim Nordwall’s infamous label, it’s a stoically economical exercise in discipline and control, unflinchingly documenting Henrik Rylander’s improvised recordings of a no-input mixing desk undergoing a severe stress test in realtime. Big recommendation if you're into anything from Mika Vainio to Sonic Youth's feedback sessions...

The latest iteration of Rylander’s practice, like Object Subject To Change [2014] and Power Model X (Motherboard Drone Live) hearkens back to a history of feedback manipulation experiments by everyone from Pierre Henry to Gordon Mumma and Masami Akita as much as contemporary examples from Mika Vainio (RIP), CM Von Hausswolff or Stephen O’Malley, all of whom essentially wrest a sense of pathos or intelligence from the pure chaos of atonal distortion.

It's ripe for those who like to jab gravel and shards of glass in their lug ‘oles, the six tracks converge his background in rock band Union Carbide Productions with a deep interest in the endless possibilities of electro-acoustic music, which has ultimately led to his attempts to harness the no-input mixer - a most notoriously febrile mare of an instrument.

Over six parts he exposes the no-input mixer’s capacity to either roar like a mountain troll, as with Unholy Connection, or growl like a hippo in Feed Treatment in two of its rawest examples, whereas in the pitching squall of Form No Function and the 10 minute Means To And End he also makes it sing like a scorned angel with a remarkable breadth of frequencies ranging from piercing highs to low end buckles.

Of course anyone can make a fucking racket - that’s the point of noise music - but it takes a keener hand to harness that chaos without making it ‘musical’ at the same time. You can trust that Rylander firmly knows the difference here.