Named after the slow loris—an animal beloved by Patrick Farmer and Sarah Hughes for its shy, gradual movements—this London trio creates music that moves at a similarly unhurried pace. Farmer (natural objects, e-bow snare, tapes), Hughes (chorded zither, piano, e-bow), and Daniel Jones (turntable, e-bow, piezo discs, electronics) recorded these three pieces at Middlesex University in 2009, producing what Richard Pinnell in The Watchful Ear describes as "a calm but invigorating massage of the eardrums, a very lovingly crafted and finely detailed wander through some beautifully interconnected sounds."

The music defies easy categorization. One listener describes it as "stylistically somewhere between drone, noise and musique concrète but it deals in the abstraction of audio corruption and degradation humming and buzzing and crackling permeate this 41 minute runtime sometimes becoming ubiquitously intense and harsh in a way that sort of creeps up." The trio's sound "slides out of your speaker into hidden corners of the room rather than leaping out and throttling you," though Pinnell warns it "isn't entirely polite"—the speakers' cones can vibrate wildly, requiring sudden adjustments of volume.

Pinnell notes that the improvisations are "instinctively laminal as sustained tones from Hughes's zither (the only element that vaguely harks back to 'music') dovetail against crackling feedback and the more feral terrain of Farmer's crunched twigs and arrhythmic earth." The music inches forward so gradually that "your brain can't properly compute the totality of their creeping sonic forestation at any given moment." Shifts occur sporadically, without seismic structural earthquakes—"the music just seems to know, and goes there."

One enthusiastic reviewer captures the essence: "The more I listen to this the more I enjoy it, which speaks volumes for Loris... it defies expectations, defies boring masturbatory capital A art, and becomes something actually, well, moving and purposeful to listen to, something great to drink bourbon to as the night creeps in."

The recording session itself emerged organically—Farmer had arranged to record Jones solo, then Hughes offered to help with monitoring, bringing her zither along. As Farmer recalls, "I can't really imagine the recording without her presence; a lot of the soundworlds that Dan and I share are very similar, and having Sarah there just threw our playing out the door and enabled us to treat the situation with a lot more clarity."

Essential listening for those drawn to patient, textured electroacoustic improvisation where natural and electronic sounds intermingle with meticulous care.