The outside is a deceptively simple concept. There is the world beyond the window, the territory beyond the border, the life beyond the limits of our understanding. And then there is the outside we carry around with us: everything that refuses to fit into our explanations, politely or otherwise. Borrowing its title from Octavia E. Butler’s dystopian novel "Parable of the Sower", "Tell Me About the Outside" by David Vélez and Bruno Duplant approaches this uncertainty without offering the reassuring services of a tour guide. Across four pieces lasting just over forty-four minutes, the Colombian interdisciplinary artist and researcher and the French composer construct an electroacoustic environment in which sounds seem to have arrived from somewhere else, bringing no documentation of their journey.

Vélez’s work explores the relationships between sound, food, everyday life and the environments in which living things exist. His interest in listening extends beyond the conventional human perspective, attending to the often-overlooked acoustic dimensions of ecological and social systems. Duplant, meanwhile, treats composition as a way of inventing realities, with a practice shaped by literature, photography, memory and the intangible. Their collaboration brings these approaches together without forcing them into an obvious synthesis. One might expect a meeting between ecological inquiry and introspective abstraction to produce an illustrated philosophical essay. Instead, the two artists leave their materials open to interpretation, allowing their differences to generate productive uncertainty. The result is less concerned with identifying what we hear than with examining how we listen when identification fails.

The four tracks share the same title, distinguished only by their numbers, as if the question were being asked repeatedly because nobody has yet managed a satisfactory answer. There is no conventional narrative arc to follow. Sounds emerge, acquire a certain density, then hover or recede before their identities become clear. Electronic processing and more tactile noises occupy the same acoustic territory: faint contacts, grainy residues, minute shifts in texture. The latter never function as quaint reminders of the physical world interrupting the supposedly artificial domain of electronics. Both are material, both are subject to transformation, and neither enjoys automatic authority over the other. A sound need not announce its source to make its presence felt. Sometimes the ear receives a clue and the mind immediately starts inventing a suspect; the music has the good sense not to confirm the identification.

This restraint gives the album its particular tension. Its movements are gradual, but not necessarily soothing. The textures seem to hold their positions under pressure, with small changes carrying disproportionate weight. Rather than building towards climaxes, the pieces adjust their internal relationships, letting minute variations alter the listener’s sense of proximity and scale. There is a peculiar intimacy in this approach: details appear close enough to touch, yet remain stubbornly unavailable to inspection. The music does not turn obscurity into a cheap parlour trick, concealing a familiar object merely to congratulate itself when the audience cannot name it. Its ambiguity feels more fundamental. We are hearing something, but hearing is not the same as knowing what has happened.

Silence is crucial to this arrangement. The gaps between sounds are not neutral intervals waiting for the next event to fill them. They determine how much space a gesture occupies and how long its consequences linger in perception. The listener becomes increasingly alert to the relationship between an event and its surroundings, including those stretches in which apparently nothing occurs. This is where the album’s minimalism proves more demanding than its quiet surface initially suggests. It asks for attention without promising a reward at regular intervals, a radical proposition in an age when even the smallest delay is treated as a technical fault. Here, patience is not a virtue rewarded with revelation; it is simply the condition required to notice what was already there.

The influence of Duplant’s literary interests can be sensed in the album’s refusal to settle the distinction between the tangible and the imagined, while Vélez’s broader concerns give that uncertainty an ecological dimension. The outside is not necessarily a distant wilderness or an abstract metaphysical realm. It may be the surrounding world whose processes continue beyond the limits of human attention, or the unfamiliar activity concealed within apparently ordinary things. To listen differently is to admit that our experience of reality is partial, and that the inaudible is not necessarily the nonexistent. There is a quiet political implication here, too: deciding what counts as meaningful sound is also a way of deciding what deserves attention. The record makes no grand manifesto out of this proposition, which is fortunate. The world has enough manifestos already; some of them even come with accompanying merchandise.

Issued by LINE, a label whose catalogue has long explored the subtleties of minimalism and sound art, "Tell Me About the Outside" is particularly well suited to its setting. Its four extended but carefully bounded studies resist both ambient wallpaper and the more theatrical conventions of experimental electronics. There is atmosphere, certainly, but atmosphere is not the whole point. What matters is the uneasy balance between recognisable physical traces and sounds that seem to have slipped free of their origins. The album does not resolve that balance, nor does it need to. Its achievement lies in making uncertainty attentive rather than passive, and in suggesting that the unfamiliar may be approached without being conquered, labelled or converted into something conveniently legible.

By the time the shorter fourth piece arrives, the question has not disappeared; it has simply acquired more room around it. Vélez and Duplant offer no portrait of the outside, no map and certainly no promise that crossing a boundary will improve anyone’s life. They offer a practice of listening that takes the unknown seriously without turning it into an object of worship. The result is a restrained, quietly absorbing work whose mysteries are not puzzles waiting to be solved, but reminders that the world exceeds the categories we use to contain it. Sometimes the most honest answer to a question is not another statement, but the decision to keep listening.

Memory has an irritating habit of improving the places we have left behind. A field that once seemed entirely unremarkable becomes an irreplaceable landscape; the hourly chime of a clock acquires the significance of a lost civilisation; the noise of a small plane passing overhead turns into a private message from a time when the future was still somebody else’s problem. Ryan Watts, recording as Akira Film Script, approaches this peculiar emotional accounting with "Over Exposure", an album built around his childhood home in Fremont, California. Its subject is not simply nostalgia, that reliable supplier of sentimental soft focus, but the quieter and more complicated need to revisit a place whose meaning has changed along with the person remembering it. The house is still there, but the field behind it has disappeared beneath new homes. The past remains accessible, although not quite in the form in which it was first experienced. Watts responds by documenting the surviving environment and shaping its ordinary sounds into eight pieces that resemble memories without attempting to turn them into a film with a reassuring ending.

The circumstances of the recording are central to the album. Watts wrote and assembled the music using a Teenage Engineering OP-1 Field, recorded the results directly to cassette through a Yamaha KX-W392 deck, and captured both the tape playback and the environmental material with a Zoom H5. He recorded in the rooms of his childhood home, as well as the garage and backyard, allowing birds, passing neighbours, wind, clock chimes and propeller aircraft to enter the compositions. The tracks were assembled without edits, preserving the small irregularities that digital production usually encourages us to remove: hiss, pops, abrupt beginnings and endings, the occasional sound that appears to have wandered in without an appointment. These details are not merely vintage decoration. Watts grew up listening to cassettes in this house, so the medium itself belongs to the experience he is trying to recover. The tape does not imitate an abstract idea of the past; it connects the recording process to the material habits of his own childhood.

There is a quietly intelligent irony in the title. "Over Exposure" suggests excessive visibility, the point at which too much light destroys the image it is supposed to reveal. Yet Watts is concerned with a place whose defining quality was its relative absence of stimulation. He remembers a neighbourhood insulated from the noise of the outside world, where the daytime quiet was interrupted only by modest, familiar events. In a culture that treats constant input as evidence of being alive, such an environment can sound almost implausibly luxurious. Silence has become something people purchase through expensive retreats, noise-cancelling headphones and elaborate wellness routines, whereas Watts remembers it as an ordinary feature of the day. His album tries to preserve that condition without pretending it can be recovered intact. The recordings are contemporary, the person making them has grown older, and the field that once bordered the property has been built over. Even a return to the original location is an encounter with change.

The eight tracks have coded titles rather than descriptive names, which discourages the listener from approaching them as a conventional sequence of scenes. There is no printed instruction telling us that one piece represents the kitchen, another the backyard, and another the precise moment when a particular memory supposedly occurred. Instead, the music invites a more tentative form of attention. Its sounds can suggest the dimensions of a room, the distance between the house and the street, or the way an otherwise quiet space changes when an outside event briefly passes through it. But the recordings are not presented as documentary evidence requiring the listener to identify each source. They are shaped impressions, part environmental record and part electronic composition, and the uncertainty between the two gives them much of their emotional character.

The shorter opening piece, "N2-16", functions like the initial adjustment of attention when entering a familiar place after an absence. It does not need to establish a grand atmosphere; its brevity makes the transition itself significant. The longer pieces that follow allow the ear to settle into a slower register, where apparently minor details become easier to distinguish. Watts avoids the temptation to make every sound announce its symbolic importance. A bird call does not have to stand for freedom, and the passing aircraft need not represent the inevitable departure from childhood. Sometimes a bird is simply a bird, which is no small achievement in a genre where every chirp can be recruited to perform unpaid philosophical labour.

The cassette texture contributes another layer of ambiguity. Its hiss and imperfections can evoke the familiar warmth of old recordings, but Watts is careful to preserve abrupt transitions and irregularities rather than polishing the material into a seamless ambient surface. The result feels less like a digitally manufactured dream of childhood than an attempt to hold still a particular stretch of time, knowing that the recording apparatus will leave its own marks on the result. The technology is modest in spirit even when it is capable of considerable sophistication. The OP-1 Field provides the means of constructing the compositions, while the cassette deck introduces a material history that belongs to the project rather than being added as an afterthought. The two processes meet in a productive tension: the work is carefully made, yet it allows evidence of its own making to remain audible.

This approach also gives the album an unusual relationship with domestic space. A house is often described through its occupants, its furnishings or its architectural features, but Watts attends to what happens when the occupants are absent. His visits to his parents’ home, timed for moments when they are away, are attempts to experience the old quiet without the ordinary activity of family life. There is something poignant, and faintly amusing, about having to schedule an appointment with one's own memories. The home becomes a place that can be revisited physically but only temporarily restored emotionally. Its rooms are still available, yet the person who once inhabited them has changed. The recording does not resolve this contradiction. It gives it duration.

The SITE project’s interest in the relationship between place and sound is particularly appropriate here. Watts is not attempting to create a universally recognisable portrait of suburban America, with its familiar cinematic mixture of lawn sprinklers, distant traffic and melancholy skies. The details matter because they belong to this particular home and to his relationship with it. That specificity does not prevent other listeners from finding their own associations. In fact, it makes that possibility more convincing. The listener does not need to have grown up in Fremont, lived beside a field or heard the same clock. What matters is the way ordinary sounds become charged through repeated exposure, until a detail that once escaped attention can later carry an almost unreasonable emotional weight.

The album’s restraint is both its strength and its limitation. Those expecting strong melodic development or clearly differentiated compositions may find the coded titles and relatively understated progression difficult to hold on to. The absence of edits also means that the pieces retain a degree of irregularity that a more conventional producer might have removed. But these qualities are consistent with Watts’s intention. He is not arranging a sequence of highlights from an idealised childhood. He is preserving the conditions under which quiet can be noticed, including the stretches in which apparently nothing happens. The challenge is to listen without demanding that every minute justify itself through a change of mood or a memorable event. That demand, after all, belongs to the same culture of constant stimulation from which the album offers a temporary retreat.

As Akira Film Script, Watts has pursued ambient and electronic music across a broad range of labels, with recurring interests in reflection, psychoacoustic detail and the restorative possibilities of listening. "Over Exposure" brings these concerns into a particularly personal focus. Its emotional content is not delivered through confession or a dramatic musical crescendo, but through the patient reconstruction of an environment. The cassette hiss does not magically return the listener to childhood, and the recording cannot restore the field that has vanished beneath new construction. What it can do is preserve the texture of an ordinary day, including its pauses and incidental sounds, before those details become available only through recollection.

Ultimately, "Over Exposure" is less about going back than about learning to hear what remains. Its quiet is not empty, nor is it an invitation to treat the past as a flawless refuge. It contains aircraft, clocks, neighbours, wind and the small imperfections of recording, all held together without forcing them into a neat narrative. Watts has made an album about a place that offered him shelter from the world, but the music’s value extends beyond the comfort of that memory. It reminds us that the significance of a place may reside in what we barely noticed while we were there. The field is gone, the child has grown up, and even the quiet has acquired a history. The tape keeps running anyway, collecting the little things that the future will eventually wish it had paid more attention to.

Humanity has spent centuries developing philosophy, medicine, diplomacy and an impressive assortment of devices for making life easier. It has also perfected the art of turning minor disagreements into mass graves, so the overall progress report remains mixed. "Decomposition", the latest release from Milwaukee’s Choke Chain, approaches this discrepancy without much faith in a happy ending. Mark Trueman’s seven-track EP is a harsh dispatch from a mind struggling with personal trauma and a wider world whose capacity for cruelty appears to outstrip its ability to learn from experience. There is no shortage of industrial music that treats despair as an attractive accessory, preferably accompanied by black clothing and suitably menacing typography. Trueman’s approach feels less decorative. The anger has a personal source, and its targets extend beyond the usual dystopian scenery to the actual human beings who keep making the world so difficult to inhabit.

Choke Chain began around 2018 as Trueman’s vehicle for bringing together dark electro, electronic body music and the raw aggression of hardcore punk. His musical vocabulary draws on the abrasive electronics of the 1990s, from Skinny Puppy and Front Line Assembly to Leæther Strip, Placebo Effect and Mentallo & The Fixer. Yet the punk influence is not merely a historical reference pinned to an electronic production. It shapes the music’s attitude: impatient, confrontational and suspicious of anything that makes anger sound too sophisticated to be sincere. Trueman’s programming supplies the muscular pulse, while the vocals deliver their distress without the polished theatricality that can make industrial aggression feel like a particularly elaborate stage costume. The result is music designed to exert pressure, but also to communicate something more specific than a general enthusiasm for unpleasant noises.

"Misunderstood" opens with the bluntness its title suggests. The track establishes an atmosphere of antagonism through forceful electronic rhythms and a vocal presence that seems unwilling to negotiate for the listener’s approval. There is an old-school EBM discipline beneath the aggression, a sense that the rhythm must remain physically compelling even as the surrounding textures turn abrasive. This is one of Trueman’s strengths: the music does not abandon its bodily purpose in favour of atmospheric misery. You can imagine a dance floor responding to it, although the mood is closer to a mass meeting of people who have all received the same deeply disappointing email.

The title track pushes further into the EP’s central concern. "Decomposition" evokes a process in which something once functioning begins to break down, and the idea applies equally well to personal resilience, social trust and the larger fantasy that civilisation is steadily improving. Industrial music has long used mechanical repetition to suggest systems that continue operating after their original purpose has become questionable. Trueman works within that tradition, using insistent rhythm and harsh electronic timbres to create a sense of activity without reassurance. The machinery keeps going; the question is whether anything worthwhile is being accomplished. This is not a particularly comforting thought, but comfort is clearly not the service being offered.

At just under three minutes, "Morgue" is the EP’s shortest original track, and its title leaves little room for interpretative optimism. Its compact form suits the subject: there is no need to stretch the atmosphere into a lengthy exercise in gothic solemnity when a more direct impact will do. "Life Ends", by contrast, has more time to develop the record’s oppressive momentum. Together, these pieces make mortality less an abstract philosophical theme than the blunt limit against which human cruelty becomes especially difficult to excuse. The grimness is deliberate, but the EP is not simply trying to win a competition for the most alarming song title. Its fixation on death follows from its concern with the damage people inflict on themselves and one another while the clock continues to run.

"Imprisoned" turns the emphasis towards confinement, a concept that can be understood psychologically as well as socially. Trueman’s electronic arrangements reinforce the feeling of restricted movement, their repetitive drive offering propulsion without much suggestion of escape. The combination of rigid rhythm and raw vocal delivery makes the music feel caught between the desire to break free and the exhaustion that can accompany prolonged struggle. There is an uncomfortable familiarity to that tension. Not every prison requires walls, and not every attempt to escape begins with a convincing plan. Sometimes it begins with the refusal to accept that the present arrangement is normal.

The final two tracks revisit "Decomposition" and "Imprisoned" through remixes by MVTANT and Mortal Realm. Their inclusion expands the EP beyond Trueman’s own framing, allowing other producers to reinterpret its material rather than simply repeat its emotional conclusions. Remix culture can sometimes resemble the administrative process of moving the same paperwork into a different folder, but here the alternate versions provide a useful change of perspective. The source material remains recognisable while the emphasis shifts, testing how much the tracks’ oppressive character depends on their original construction and how much is embedded in the underlying ideas. They also prevent the EP from ending as a sealed statement: the music is subjected to further handling, altered by another set of decisions.

The title "Decomposition" might suggest total collapse, but the EP’s force comes from the fact that it remains active. These tracks are not inert monuments to hopelessness. They move, strike and insist, using the energy of dark electro and punk to turn distress into something that can be heard and physically registered. Trueman has spoken about writing the material during a period when he came close to giving up, while also attempting to address personal trauma that he had previously avoided in his music. That context lends the record a more difficult dimension than simple misanthropy. There is a difference between declaring that the world is rotten because it sounds suitably dramatic and making music from a period when despair has become a genuine problem to confront. The distinction cannot be measured by distortion levels, but it can be felt in the urgency of the performance.

The EP’s unrelieved darkness may limit its emotional range for listeners who need contrast to make intensity meaningful. Its relentless hostility can also become wearing, particularly when the themes of cruelty, death and confinement reinforce one another across the tracklist. But this refusal of easy relief is integral to the record’s purpose. Trueman is not offering a reassuring narrative in which suffering becomes wisdom and everything eventually falls into place. Nor does he appear interested in making misery fashionable. The bluntness is part of the statement: some experiences are ugly, and a musical response does not have to make them palatable before it can be useful.

What makes "Decomposition" more compelling than a routine exercise in industrial pessimism is the friction between its electronic precision and its emotional rawness. The rhythms are controlled, the production forceful, the structures purposeful, yet the underlying perspective remains unsettled. The machines can be programmed; the feelings that motivate them cannot be made so cooperative. Choke Chain’s achievement is to turn that contradiction into a record that is both physically direct and psychologically exposed. It does not pretend that music can repair the damage it describes, and it does not confuse bleakness with profundity simply because both look good in black. It gives anger a form, trauma a means of expression and despair a pulse that refuses to lie still. In a world so adept at manufacturing reasons for hopelessness, that is not a cure. It is, at least, a refusal to keep quiet.

There is something reassuringly undignified about the collision between spiritual aspiration and domestic inconvenience. One may be contemplating the fragility of existence, the collapse of religious conviction or the passage of time, only to discover that the radiator has started making a noise or that moth larvae are quietly converting an expensive carpet into a communal dining arrangement. Nicolas Debade understands that these experiences are not necessarily as far apart as they appear. "Fragments of Soaring Vessels" sets abstract questions alongside the unruly evidence of everyday life, creating five compositions in which transcendence, anxiety, mechanical behaviour and accidental discovery repeatedly interfere with one another. Its title suggests objects that ought to be airborne, yet the music remains attentive to the materials from which they are made, and to the possibility that even the most ambitious construction might come apart in mid-flight.

Debade is well equipped to negotiate the territory between conceptual thinking and unruly sound. A composer, sound artist and researcher with a background in classical piano, he is a member of INA GRM, the French institution whose history is closely connected with the development of musique concrète and electroacoustic composition. His own practice ranges across electronic music, noise, field recording and acoustic sources, with an interest in the ways technology can alter our perception of familiar materials. That research background is relevant, but "Fragments of Soaring Vessels" never feels like a dissertation that has accidentally acquired a soundtrack. Its ideas are embedded in the behaviour of the sounds themselves. Debade works with recordings from the Calanques of Marseille, water heaters and radiators, cutlery and shards of glass, alongside synthesizers, guitar, bass, piano, theremin, voice and hackbrett. This is not an invitation to identify every item in an audio version of a particularly eccentric household inventory. The sources are transformed until their original identities become unstable, then allowed to retain just enough of their character to keep the music grounded.

"The Inexpressible Feeling of Dereliction" begins with a psychological crisis rather than a physical one: the moment when a deeply religious person experiences a devastating loss of faith and must reconsider the devotion that previously gave life its meaning. Debade approaches the subject without resorting to the obvious musical shorthand of solemn chords, ominous drones or an electronic equivalent of stained glass falling from the ceiling. Instead, sounds emerge and recede with an uneasy sense of discontinuity. Electronic textures and fragments of acoustic material occupy a space in which apparent stability can no longer be trusted. The composition does not attempt to explain what disillusionment feels like, as though an emotional state could be translated into a universally recognised collection of frequencies. It presents a more elusive condition: the mind continuing to search for an order that has ceased to persuade it. The title may be grand, but the musical argument is persuasive precisely because it does not insist on a grand conclusion.

"Interlope" changes the mood considerably. Here, the synthesizers seem to have developed separate personalities, some shrieking, others singing, all apparently convinced that their own contribution deserves immediate attention. The resulting exchanges are capricious and faintly comic, suggesting a gathering of machines, insects and animals whose shared language consists largely of interruption. Debade’s sound design gives the electronic material a peculiar physicality: tones twitch, squeal, chatter and mutate, avoiding the polished impersonality sometimes associated with synthesizer music. The piece has an almost theatrical quality, but without assigning its performers stable roles. A sound that initially seems mechanical may acquire an organic inflection; something apparently alive may suddenly reveal an unnervingly artificial edge. The distinction between creature and device becomes less useful than the question of how each sound reacts to the others. Anyone who has ever tried to hold a sensible conversation in a room full of people determined to be interesting will recognise the underlying social problem.

Then "Antic Moth" brings the argument down to carpet level. Its premise is almost comically precise: a desire to create something contemplative and spiritual is undermined by an infestation of moth larvae, whose repeated attacks eventually defeat the attempt to preserve a beautiful Persian rug. Yet the episode offers more than a good anecdote about the limitations of interior design. It captures the way anxiety can colonise the very activity intended to relieve it. The search for serenity becomes inseparable from the effort to control the conditions that threaten it, and every attempt to restore calm produces another reason to remain alert. Debade gives this conflict an unstable musical form, moving between more delicate material and harsher, more intrusive gestures. The effect is not simply that peaceful music gets interrupted by noise. Rather, the possibility of peace itself becomes suspect, because attention has been captured by the thing that refuses to go away. The moths, unlike most philosophical problems, have the considerable advantage of being hungry and entirely indifferent to the quality of one's intentions.

At nineteen minutes, "Melamboreas" is the album’s centre of gravity. The title refers to the ancient Greek term for the Mistral, the powerful wind that blows through southern France, and the composition was developed in a multiphonic version for the GRM Acousmonium at Maison de la Radio in May 2024. Its concerns extend beyond the weather: departure, erosion, renewal and the shifting relationship between remembered and forgotten experience all inform its gradual development. Debade describes the piece as a form of organised chaos, and the phrase is apt, provided that organisation is understood as a process rather than a tidy arrangement. Raw recordings, electronic sounds and digital transformations accumulate, disintegrate and reconfigure themselves. Some passages seem almost immobile, as if their constituent elements have become trapped in a substance too dense to move freely; elsewhere, the music develops a slow, inexorable momentum. The contrast between these conditions creates a compelling uncertainty about whether anything is actually changing or whether we are simply discovering new details in something that has been there all along.

The length of "Melamboreas" gives these changes room to register without turning the composition into a demonstration of endurance. Debade is patient, but not merely atmospheric. His material has grain, resistance and a sense of internal pressure; quieter stretches do not necessarily offer relief, while denser passages do not automatically signify crisis. The music keeps revising the listener’s sense of scale. A small sound may seem to contain an enormous amount of space, while a thick electronic texture can feel curiously static. The Mistral is an appropriate reference because wind is both a physical event and a force that makes other things perceptible through their reaction to it. Here, the movement of sound exposes the unstable relationship between an object, its surroundings and the memory of what it once was. There is no need to turn that into a grand metaphor for human existence. The composition is sufficiently absorbing without being appointed spokesperson for the universe.

The bonus track, "Ulysses’ Last Journey", occupies a more intimate position. Composed and recorded in the immediate aftermath of the departure of a faithful companion, it carries a personal weight that differs from the conceptual premises of the preceding pieces. The title evokes the end of an odyssey, but the music does not require a narrative to explain its emotional significance. Its comparatively brief duration and subdued character allow it to function as a quiet dedication, with grief acknowledged rather than elaborated into a prescribed sequence of musical gestures. Its place at the end of the album also changes how the earlier material can be heard. The questions of rupture, erosion and persistence acquire a more personal resonance, though the connection remains suggestive rather than explicit. Debade does not attempt to make loss aesthetically convenient. He leaves it its own measure.

Across the album, the apparent differences between the tracks conceal a consistent concern with the failure of neat divisions: spiritual experience and material nuisance, living organism and electronic device, preserved memory and damaged object, deliberate composition and unintended discovery. Debade’s sources may be disparate, but the music is not a random assemblage of interesting noises. The compositions have direction, and their contrasts are carefully managed without being made too comfortable. The production allows fine details to remain audible while giving the denser passages enough weight to avoid sounding like a collection of digital curiosities. There is humour in the work, particularly when its sounds acquire the awkward mannerisms of troublesome creatures, but that humour does not cancel the more serious questions. It makes them more recognisable.

"Fragments of Soaring Vessels" occasionally risks asking its listener to do a little too much interpretative work, particularly when the conceptual descriptions are more explicit than the music’s own signposts. But this ambiguity is also part of its character. The pieces do not behave like illustrations of a set of ideas; they develop their own relationships, sometimes reinforcing the stated intentions, sometimes complicating them. Debade’s achievement lies in making that uncertainty feel productive rather than evasive. These compositions acknowledge that the mind can seek serenity while remaining preoccupied with moths, that a crisis of faith may leave behind more questions than answers, and that a sound can be both a physical event and a trigger for something remembered imperfectly. The vessels in this collection may be fragmented, but their pieces retain enough lift to suggest movement without promising escape. Even the most carefully assembled construction must negotiate the world as it actually is, which is full of broken glass, noisy plumbing and other deeply unimpressed participants.

A triacontagon is a polygon with thirty sides, which sounds like the sort of fact someone might bring up at a party when the conversation has become dangerously enjoyable. But the title of this collaboration between Brazilian saxophonist Ivo Perelman, American experimental guitarist Elliott Sharp and Brazilian percussionist Cyro Baptista makes more sense as a description of how its music behaves than as a geometry lesson. Thirty sides imply neither symmetry in any immediately useful sense nor a particularly convenient way of getting from one point to another. They suggest a shape with too many possible approaches to be grasped at a glance. Across six lengthy improvisations, these three musicians construct something similarly difficult to reduce to a single perspective, though there is nothing random about the results. The music has its own internal logic, even when that logic seems to have been drafted by a committee whose members refuse to attend the same meeting.

Perelman has spent decades developing a tenor-saxophone language that can move from searching lyricism to an almost physical confrontation with the instrument. His early musical education included classical guitar, but the saxophone eventually became his principal means of expression, leading to a formidable catalogue of recordings and collaborations with figures such as Matthew Shipp and William Parker. Sharp comes from another corner of the experimental universe, with a practice encompassing guitar, electronics, composition, mathematical systems and the unruly history of New York’s downtown scene. Baptista, meanwhile, brings a percussion vocabulary informed by Brazilian traditions but never confined to them. His work can be rhythmic, theatrical, mischievous or unexpectedly delicate, sometimes within the space of a few seconds. The three are not merely specialists brought together to demonstrate their respective expertise. They are musicians with strong personal identities, and the interest lies in what happens when none is granted permanent control.

The first surprise is that Perelman does not automatically get first word. "Dionysus in the Amazon" begins with Sharp and Baptista establishing a restless exchange of guitar figures and percussion, a rhythmic presence that feels more like an invitation to move than a conventional beat. When the saxophone enters, it does not simply rise above the other instruments and claim the foreground. Perelman bends, stretches and roughens his phrases in response to the activity already underway. The sound can be exuberant without becoming celebratory, as though Dionysus had arrived at the party only to discover that the furniture had been assembled incorrectly and the guests were enjoying themselves anyway. Baptista’s contributions are especially important here: his percussion gives the music momentum while remaining too unpredictable to function as a dependable rhythmic floor.

That balance becomes more elusive in "Sacred Geometry of the Tropics". Sharp’s guitar can sound brittle, granular or strangely luminous, with tones that appear to have been drawn out of the instrument by methods its manufacturer would prefer not to discuss. Baptista responds with an assortment of timbres rather than a fixed pattern, while Perelman moves between piercing cries and phrases that seem to circle an idea without settling on a final statement. The tropical imagery in the title might encourage expectations of exotic colour or an imagined wilderness, but the music does not offer an easy postcard version of either. Its atmosphere emerges from the interaction of the players: a humid density one moment, a sudden opening the next, then another layer of activity that changes the apparent scale of everything around it. The geometry is less about orderly design than about the way separate lines keep altering one another’s direction.

"Inside a Broken Circle" makes that instability more explicit. A circle should, in theory, be reassuring: continuous, closed, uncomplicated by corners. Break it, however, and its parts begin to imply different destinations. The trio explores that possibility through shifts in density and emphasis, allowing individual sounds to acquire prominence before being absorbed into the ensemble again. Sharp’s guitar can supply a recognisable pulse, only for its texture to make that pulse feel uncertain; Baptista can suggest a rhythm without obliging it to behave; Perelman’s saxophone responds with a mixture of breath, pressure and melodic fragments. There is a strong sense of mutual listening, but not the polite kind in which everyone waits for their turn to speak. These musicians listen in order to interfere productively.

Then comes "Electric Bacchanalia", the one piece that begins with Perelman’s saxophone. Its title promises excess, and the performance has a more immediate physical charge, with the saxophone pushing forward while Sharp and Baptista create a lively, sometimes abrasive framework around it. Yet the track is not simply a release of pent-up energy. Even at its most animated, the music retains a flexibility that prevents it from becoming a prolonged contest in who can play loudest or fastest. Baptista’s sense of theatrical timing and Sharp’s ability to make the guitar function as both a rhythmic instrument and a source of unstable texture keep the proceedings mobile. It is the closest the album comes to an unruly celebration, though anyone hoping for a tidy chorus to take home will have to settle for the memory of a good argument.

The two closing pieces offer different kinds of resistance. "Irregular Forms in Humid Space" is particularly effective when the musicians allow small sounds to remain exposed before introducing something that unsettles their apparent significance. Baptista’s vocalisations and unusual percussive gestures can lend the music a distinctly playful character, while Sharp’s guitar and Perelman’s saxophone make the atmosphere more ambiguous. There is humour here, but it is not the humour of a novelty act. It comes from the musicians’ willingness to make sounds that might be conventionally labelled inappropriate and then demonstrate that they belong exactly where they are. "Disordered Continuum", shorter than its predecessors, closes the album without pretending to resolve the questions raised by the preceding hour. Its jagged exchanges and shifting momentum feel less like a conclusion than the point at which the recording decides it has made its case and declines to provide further documentation.

The album’s freedom is not the absence of structure. It is a structure that develops through attention, reaction and the capacity to abandon an idea before it becomes an obligation. That distinction matters, because free improvisation can sometimes mistake the removal of rules for the removal of responsibility. Here, each player has to do more than produce an identifiable sound: each must recognise what the others are doing and decide whether to reinforce it, oppose it or change the conditions altogether. Sharp’s textural ingenuity, Baptista’s rhythmic imagination and Perelman’s expressive range create a group dynamic in which no contribution remains entirely private. Even the more abrasive moments carry traces of exchange rather than mere collision.

There are passages where the density and extended duration may test listeners who prefer improvisation to provide a clearer sense of arrival. The six pieces occupy more than an hour, and their titles sometimes promise a conceptual precision that the music deliberately refuses to deliver. But that mismatch is part of the record’s appeal. "Triacontagon" gives us neither a mathematical proof nor a ceremonial performance with a clearly defined beginning, middle and end. Instead, it captures three musicians working out a temporary set of relationships, with all the mischief, concentration and occasional confusion that entails. Thirty sides may be an awkward shape to draw, but these three players make a persuasive case for listening from more than one direction. The final result is adventurous without being self-important, physically engaging without leaning on brute force, and funny in the way serious creative people can be funny when they stop trying to look serious. It leaves the pleasing suspicion that the music has discovered several more possibilities than it has actually had time to explore.