Have you ever thought that grid could be one of the apterrepresentation of the point of intersection between human and non-human, organic and inorganic, natural and artificial? We drive on grids of asphalt, we grab energy from electricity grid, we delimit properties (one of the most artificial and intrusive human inventions...) by grids, we are nothing but points on grid lines to the peeking eyes of a satellite, we adore our favorite actors and actresses over grids of pixels, we listen our favorite musics throughout grids, we live into grids of steel and reinforced concrete and so on. We even eat grids if you think about Belgian waffles! Jokes aside, grids could be considered as the visual display of ordering human-like principle and its almost unavoidable imperfections as its intrinsic phallacy. The above-mentioned bugs could be the conceptual framework, the nous or maybe the cognitive compass of this project by Radian and Lokai co-founder Stefan Nemeth, which blends silence and noise, electronic and acoustic, human and not-human together with the support Bernard Breuer (Elektro Guzzi, Tumido), whose mechanical drumming overlaps the geometrical drum machines and the sudden crackles by Nemeth on the two parts of "Dedispersion" and Steven Hess (Locrian, Pan-American, Cleared), who extemporizes impressive drumming sets by hitting objects within clumps of granular sounds and raw waveforms on B side. There's not a really audible discrepancy between instruments and electronics over the ten tracks of this wisely titled "Gridshifter" even when the sources are clearly distinguishable so that this elemental amalgamation of rhythm and noise, where the knitting of electronic and human seems to slacken the illusory rigidity of the grids, sounds cohesive and somehow intriguing, paricularly on tracks where this sort of sonic deixis and noisy epistrophe is more accentuated such as the above mentioned "Dedispersion I" and "Dedispersion II" (all titles are somehow related to navigation systems), "FS Revisited", "Gridshifter 05", the burnt hypnotic circling saturations of "Cumbre Vieja", the oblique glossy sonorities of "Skatterakt" and "Peano". Nemeth himself describes the idea behind Innode in his description of the cover artwork: "These arrays, or biochips, are samples of DNA laid out as a series of microscopic spots bound to a small glass slide. Corresponding images look highly organized, but show a lot of tiny imperfections at the same time...this fact makes them especially interesting for me". That's a quite fascinating way to contextualize Innode's catchy sonic dynamics.