It seems that the high rate of dumping factor, let's say so, is intentional in Francisco Meirino's sonic research as according to the one who wrote his biography his music primarily "explores the tension between programmable material and the potential for its failure" and this operating procedures permeate this release, where you could imagine an astonishing electromechanical prototypical marvel which fails the test just some instant after it gives the impression it's going to to work well! It could be a wise way to gibe its own skills as I'm pretty sure Francisco knows them quite well. More than 150 live performances in many venues in Europe, Japan and North America and a plenty of collaborations and commissioned releases are enough to validate them. During the listening of Meirino's work, you could easily imagine a supercar with the highest technological content which ridiculously fails the first test for a punctured tire! It's not a negative criticism at all, as I reallt like those skilled musicians which manages to add some funny provocative hints in their artworks! Those abstract lines on black background on the cover artwork refers to the compositional process, which has been used for "Untitled Phenomenas in Concrete", as Francisco fed 85 HighC/UPIC sessions with a set of 18 external sounds (recordings of bones cracking, snow falling, electro-static noises, oscillators, gear failures, magnetic fields and insects!) by means of a device (UPIC) developed by Iannis Xenakis, which gave the possibility to create sounds from drawings on a sort of primordial tablet. I'm not surprised Francisco spent nearly four years to achieve a satisfying result, which arguably manages to reinvent the glitch logic within electroacoustic composition.