In truth (one Poitras fails to see) nothing today is readily available. In our society, that unknowable-ness, that other, is channeled into fear-driven domination.

The majority of ambient music seems to reside in a form of despair; it exists most often in a state of being, relying merely on the passing of time itself to serve as its dramatic momentum, engaging the listener in a largely static sonic-auratic experience.

I propose that the truthful joy of The Forty Part Motet is rather more sober, clinical and above all alienated than the sublime or transcendent categories projected onto it.

Like much new experimental electronic music, Fousek is the result of a generation of ‘sound artists’ who find it necessary to return to the origins of electronic music.

Minor artworks fulfill a current need and inevitably conform to what might be termed a ‘minor consciousness’ of our contemporary era.

Strain Studies indeed sounds strained and tense, definitely not easy listening. But, at the same time, it seems to be verging on a complete and lively spontaneity.