The central portion of the record is taken up by the 28 minute "/White Night," a dose of slowly evolving ambience that hovers like an intelligent cloud of energized particles and the attendant pair of scientists who are using several dozen scanning devices to attempt some sort of analysis of the drifting fog. The scientists talk in hooded whispers, discussing the readouts on their devices and scratching their heads at the confusing signals. Meanwhile, the fog drifts, seemingly without pattern and without purpose in its tiny propulsive rhythms. As you immerse yourself in the mist, leaving behind the befuddled scientists, you begin to wonder about the origins of the minute poly-rhythms and the drifting tones. Which came first? Which leads? What is the source of their tiny concerto? Like something off of the Raster-Noton label, "/White Noise" becomes a chattering cacophony of digital dust, a glitch rhapsody written for quarks and neutrinos. The final movement of the piece is the evolution of the single-celled glitch particles into rounded bell tones, chimes that echo an endless signal against a slumbering backdrop of gentle sub-sonics.
While the liner notes of Black Ice say that the power noise tracks were "brutalized" by Verhagen, the note on Black Ice say that the delicate electro-acoustics herein are "administered" by Verhagen. These eight lowercase songs are the slow chill of a morphine drip as the drugs take over your system, cell by cell. There are tiny flashes of heat as the flesh is numbed, but the sparks hover so close to the edge of audible perception that they are quickly dissolved in your imagination.

Mark Teppo - Igloo

administered by darrin verhagen.
engineered by byron scullin.
mastered by francois tétaz.