This starts out with delayed vibraphone synth phrases, then becomes more sonically interesting around 0:55, with some ominous reverse string-like phrases and motifs.

The challenge for the listener is to try to connect to the phrases -which start and finish abruptly, with no metrical rhythmic quality - other than that induced by the use of delay.

The string lines are turgid - I am reminded of Bernard Herrmann's scores for Hitchcock.

By 2:34 the vibraphone patch becomes annoyingly atonal - and this is followed soon by repeated polyrhythmic deep tom toms - the listener is taken further towards frustration - as the piece eludes any repetitive structure in spite of its components all being metrically repeated.

The sonic components appear and then disappear - without any firm sense of tonal centre - each time the listener identifies a possible tonal centre it evaporates in a polyrhythmic texture.

If you suspend emotional judgement on this one, the use of fifths in the low string sound seems to convey a sense of forboding or anger, but this is never really capitulated.

So what's the point? I guess like pointillist art - if you stand at the right distance you can sense the overall impression. Just that I'm not certain what the correct distance here is.

I got the same sensation here that I get with windchimes - the random factors and rhythms quickly became frustrating in their sonority.

This piece defies rhythmic and tonal familiarity to the listener, and in that sense is quite challenging. The production values are good, and the composition is intriguing if only for its structure - almost intending to disorient the listener in a wave of polyrhythms and atonal musical textures. Every time the ear tries to identify a pattern it deftly evaporates.

I never really liked Scriabin or Schoenberg. But I think they'd be quitely pleased with this one.

A sonic pastiche which defies the conventional expectations of the listener. Everything that we're trained to identify in music here is presented then whisked away just before we get to identify or relate to it.

Challenging indeed.

Machine That Ate Corporate America: Although I feel it is not as ambient and organic as your Tsuyu tracks I still love it. You hit the mark making it sound very mechanical almost like a sputtering engine or something, or a factory. I like it a lot, great panning effects and interesting rhythemic patterns coming from the noises. I like that droney type sound in the backround as well. Nice job

This track opens with some heavy industrial synth noises which build and fade, with what sound like very gradual filter sweeps.

There are some interesting psychoacoustic effects here - slight stereo delays make for interesting effects.

When synth noises are done well, you get the atmosphere, and you don't really think of them in terms of a specific instrument or a sequence of notes - which is what we have here - a sonic landscape that is suggestive of an other-worldly visual from a sci-fi movie. Or a flotation tank soundtrack. Very few pitch cues, but a compelling sound nonetheless.

Around 2:50 there are some crisper modulated noises juxtaposed against the "swellscape" of sounds. More ring-modulated and cross modulated sounds - again metallic and mechanical, and metrical, but interesting by way of the contrast they have with the backing.

What is good about this track is that if I sat down to score it on manuscript, which I frequently do, I couldn't. The sounds defy pitch and verbal description - which makes me realize how cutting edge this track is. I enjoy it *because* it defies analysis - which for me, is like sonic purism - a relief is not seeing the flyshit on a score or identifying the instrumentation as you listen to the track.

6:40 - the character changes again - a "filter lead break" as it were.

How would I replicate the sounds? I haven't a clue. The coda is capitulative, but I can't even begin to explain why.

Ingenious, and challenging, but like a beautiful metallic sculpture. You can watch the gallium melt as it sits in your hand.

This track is beautifully produced, unconventional, novel, and worthwhile.

this is a little more outside than your other tracks, but it had a very clear sense of purpose as it moved along that really pulled me in. there's definitely a story in here that builds on itself. the sounds you use are also a really nice combination. if anyone ever claims to me that soundscapes are just "noise" i think this will be one of the tracks that i point them toward.

Hi, still on the 'rain' theme checking out Tsuyu part 2. I preferred the expansiveness of Tsuyu 1 but that isnt a criticism of this track- its just that this feels more like sitting in a room watching the rain outside whereas the 1st one feels more 'atmospheric' in the literal sense...
Relaxing stuff though and definitely goes very well with the first one.

I'm actually working on a 'rain' track at the moment so its really interesting to listen to this. Makes me think of bands of rain sweeping across out at sea- barometer falling... and then the rain starts to fall, I hear the glass bottles as well. Very spacious evolving soundscape, beautiful production particularly the panning. Really nice stuff!

Very, very nice indeed. I could drift away for hours listening to this. One of your most interesting and enjoyable tracks for me. Excellent work.

whoa, this is a neat track. The sounds are great, it really creates a state of relaxation for me. I love the little clicky sounds that pan throughout the track, and the backround synth adds great atmosphere. It's cool whent he clicks start playing a tiny little melody for a second or two, thats my favorite part. Sounds like rain falling into glass bottles.

Well It's not often that I get to review one of the "Big Name's" on the SC forums but drt is one of them, He's made me laugh and cry at the same time with some of his track's. I first heard drt's work when he remixed my track DFR (house Bass mix) and using only the stuff I provided in the sample pack made a track so completly different it was hard to believe he used the sample pack. I then Discovered more workings of drt thanks to the experimental tourny,personally I rate drt up there with the likes of Refrag, Adam fielding, Breakbeat Pimp, Big T, D.N.A, Frequen-Cee and alot of the great artist I've found in my time here. so heres what u lucky people get? a drt double review feature, don't u feel great about that!

Windoh

straight away this track start's like some little kinds play thing and soon it's get's to the point where the synth comes in, thats when I realise that that's the the bloody window's tune, and yes, that means that this whole track is made with sound's that ur computer makes at ya... amazing, drt has again made a completly original track using things each one of us hear every day. This is what makes me love drt, his originallity. Well the track it's self does seem to constantly change through out the track so each section of the track has a new and genrally weirder feel about it. ok so u can't play this in ur car (unless ur weird) or up in the club but it's still a fantastic peice of art.

Score:8
lowlights: not ur banging club tune nor is it for everyone
highlights: clever, funny, amazing...

Aeroflux movement 3

well this track is much different to windoh, This is both more menecing and atmospheric. The sound's fro this track are rather scary infact and I'm just glad I'm reviewing this in the sun coz otherwise I might have to turn every light in the house on... That's another thing about this track, i effect's you, unlike alot of mainstream music underground/unsigned artist produce music from the heart, well alot do, and I think drt has a strange or (or maybe broken connection...) between his heart and brain. I don't know if it's drugs or living in Japan that makes drt so weird but u always end up enveloped by his working's. In this case it's is like mellow noise (did I really just say that...) with weird sound's from everywhere all coming together to create this scary well planed mess... another extraordiary working from drt.

Score: 9
lowlights: not mainstream music
highlights: caused me fear...