Being on 12k, I can probably be economical with the word count here, as the following can be taken for granted with each of these two releases: minimalist, microscopic attention to detail (extending to the moody landscapes on the covers, as you can see below) and fanatical obsession with the qualities of sound.
Pjusk’s electro-acoustic sculptures are buried under vinyl crackle and tape hiss. Amongst this quiet noise, instruments play slow, sad stabs of melody – guitar in “Rim”, piano in “Kontur”. Stunning mournful choral and classical splinters emerge through cracks as in a less abrasive Philip Jeck performance. Towards the end “Anelse” and “Rom” feature muffled beats, vocal fragments and keyboard sounds not entirely dissimilar to those you would find in a Boards of Canada record.