Reversed tape loops, strummed micro gestures and percussive elements sourced from increasingly esoteric places encircle some­thing less akin to a pulse than some greater subtextual unifying logic. The source of these seemingly endless subtle sonic events — be it primary or found — does not grab you as much as the question of their seamless coexistence.

This is music that journeyed quite a ways to get here; somehow all that you are hearing is born from the early 1990s when Géraldine Eguiluz was in Paris, and recorded some sounds on cassettes. Returning to one’s work after a prolonged span of time can perhaps come with an inherent freshness and Eguiluz warped, molded, deconstructed, recontext­ualized and eroded the sounds on these tapes through collage which is another category of introspective creation. Take Territoires perdus #3 for instance, where from a handful of vocal tracks stem harmonies that feel like they are only attained through this medium, as sustained breathy backgrounds envelop heavily edited streams of gibberish, creating a unique atmosphere of uncanniness and one of the many inscrutably hyper specific feel­ings achieved throughout this project. Adding Michel F Côté ostensibly adds an entire additional process to the creative mix, as he is another universe in himself with all the audial information he is able to generate through countless means. Around track five, the “how” becomes less enthralling than the “what.”