News from the Sonic Arts Network

EXPO 966

Scarborough is the venue for this year’s SAN Expo to be held this weekend at various venues and locations across the town.  The weekend is packed with performances, installations, papers and a rare staging of Trevor Wishart’s Beach Singularity.

For those of you planning to attend, it should be noted that the Saturday night programme (featuring Man from Uranus, Ninki V and Loneshark vs. Shigeto Wada) has changed location, and will now be held at the fantastic Vivaz, just off Westborough (Huntriss Row). The times remain the same.

As if all this excitement wasn’t enough, it will all be FREE! So there is no excuse not to put on your swimming costume and sun visor, slap on the factor 30 and come along.

For full listings visit

Programmes will be available at the event.


17-21 June
SAN Expo 966
Various, Scarborough

Sonic Arts Network and The University of Hull invite you to take a British seaside holiday with a difference this summer and promenade your ears through the wonders of Expo 966. Featuring new installation and performance commissions from Justin Bennett, Ergo Phizmiz and Luke Styles; An ultra rare staging of Trevor Wishart’s classic 70s public sound intervention, Beach Singularity and an exclusive live collaboration between Black Galaxy (former members of Napalm Death and Scorn) and kreepa. Over 60 artists will be contributing  including, Adrian Moore, Alistair MacDonald, Automated Noise Ensemble, Cesar Villavicencio, Cloudbase, Geography of Nowhere, Man for Uranus, Minimism Records, Nick Melia & Matt Rogalsky, Ninki V, Peter Stollery and Simon Emmerson. All events are free.

18 June
Copenhagen Free University / Whitechapel Auditorium, London

A 12-hour long live broadcast from the university in Denmark direct to the Whitechapel auditorium. The transmission will be both an unedited presentation of daily life at the CFU as well as a choreographed and occasionally interactive series of events, talks, television, poetry, mess, music and waste.

20 June
WILLIAM KENTRIDGE: 9 Drawings for Projection
(film & performance)
Prince Charles Cinema, London

Combination of William Kentridge's animated film with Philip Miller's music performed live by Jill Richards on piano, with Sontonga Quartet, Adam Howard on trumpet and singing by Tumelo Moloi.

24 June
Electroacoustic Music on a Diffusion System
(live performance)
Memorial Hall, Wrexham, North wales

An evening of live electro-acoustic performances composed by final year music technology students of Yale College on a 16.4.4 diffusion system. there will also be a live performance by Robert Mackay.

29 June
Hive 012
(live performance)
FACT, Liverpool

Hive returns to FACT with microsound artist Si-Cut.db. Support comes from Highpoint Lowlife labelmate Tigrics. Strcprstskrskrk teams up with vj Bob Wass for the first presentation of their project based on the work of German filmmaker, Werner Herzog. DJ sets: Andy Odia (ex-Roger) of Manchester’s Black Heart Disco and Alextronic.

8 - 9 July
Supersonic Festival
Birmingham, UK

Annual SuperSonic festival featuring DJ X, Shitmat (Planet Mu), Chris Clark (Warp) stages of live performances, art installations, film programme, video bingo and karaoke.  Also including Psychic TV, Rother & Moebius, Black Galaxy vs Kreepa (ex Napalm Death/Scorn), Brian Duffy and Modified Toy Orchestra plus much more.

7 June - 31 July
Aureole - Katy Connor, Andrea Berry Sophie Hamar, Helena Gough
(live performance)
The New Art Gallery, Walsall

Aureole is a collaboration between a filmmaker, dancer, choreographer and composer. This multi-channel audiovisual installation explores notions of the self by re-imagining the personal experience of pregnancy. Features an eight channel soundscape.

29 June, 6 & 13 July
Music We'd Like To Hear
(concert series)
St Anne & St Agnes, London

A concert series curated by Tim Parkinson, Markus Trunk and John Lely and featuring Paul Whitty, Robert Wannamaker, Markus Trunk, Michael Parsons, Christian Wolff, Thomas Stiegler and John White (29). Tom Johnson, Kunsu Shim Nackt, Paul Newland, Alvin Lucier, Alastair Bannerman (6). Buruk, Antoine Beuger, John and Cornelius Cardew (13).
020 8991 5783


Interview: Man from Uranus
By Richard Whitelaw

Do you follow the music of today?

Depends on where it’s going.  Not as much as I should - I work so much on my own music that it’s usually by happy accident that I discover something new that I like - Lately that would be the German/French garage guitar synth duo Stereototal, and maybe Ariel Pink.

If part of today’s new music is looking back and gold mining for forgotten gems from the past, then yes, I'm certainly part of that. Chappell Library, Sun Ra, Commodore 64 computer game music.......

But, mostly I draw a blank when people ask me if I heard this or that. I let the music of today follow me.

Do you consider there to be a strong future for concert hall music?

Well, perhaps there'll be a big war and those of us left alive will gather in dusty concert halls for French style cabarets. I'd like to play a few concert halls, that’s for sure. My first concert hall show was Jethro Tull in Tampa Florida in 1982. They played on a big pirate ship. I'd like to live in the Barbican, then I'd have my own little concert hall to go down to after dinner. I'd love to do a show on the Beach. Saw Skinny Puppy play on the Beach in 1992 - Horrible industrial rock, fake blood, and Bikinis.

Are you interested in sound art in a gallery or site-specific context?

Usually, 90percent of the time, it seems that sound art is an advertisement to listen to sound more closely in your own living environments - and that’s a cool message, because I've met a lot of people who don’t listen and could certainly do with a 'site specific' education. It seems like in the Brain-Eye-Ear relationship, the Ear has certainly taken third wheel - I think the Ears potential is too psychedelic for the rationale of some people. The greatest sound art I've come across is a German woman I know, and no matter where she is, in a gallery, or on some specific site, the tones of her voice just send me.

You have travelled widely; do you think that different cultures draw their own messages and meanings from your work?

My music hasn’t had time to assimilate that far - I take some influence from European and Oriental music and I know a few French and Japanese people who go crazy for what I do, so there's a little something going on there. Too early to say.

Do you think that the era of the 'great composer' is over?

No, certainly not - unless that part of the human spirit has died. But then again, what is a great composer? Bach or Zappa? There are way too many people faking it, and maybe I'm one of them. The age of the sampler has opened the gates for a zillion imposters.

I think we place too much importance in modern pop records and electronic devices. Remove the national grid and it will all mean nothing. I think the Greatest Composer has yet to arrive, although for a good few years I thought it was Karlheinz Stockhausen.

You have spoken of a musically assisted human potential for astral travel. In your opinion, can this experience be assisted by static arts (such as painting and traditional sculpture) forms as well as time based art forms like music?

Having studied Astro-Physics (in particular, counting crater diameters to ascertain geological histories) I can say that mathematics is a far greater tool for astral travel than music or painting - although the combination of the three I think could provide just the right apparatus. Certainly I'm into the cross-media culture coming up these days.

Kandinsky sends me, but, no I think music has a far greater potential than static art - probably because of the physical pressure waves involved. But what is Astral travel - some people might achieve that through woodcarving - imagine flying through 'astral space' and coming across a widdle of wood-carvers soaring through astral nothingness.

Does the awareness that future generations will doubtless listen to your works and read you thoughts as documented in books and interviews impact on the type of works that you produce and the content (both musical and dramatic) of these works?

Certainly creating something that stands the test of time is important. I'm mainly a 'retro-futurist' revivalist, so that’s a bit like asking the same question to an Elvis Impersonator.

I want to ask a less music related and more personal question if I may. How does Man from Uranus relax when he is away from his work?

I go for walks in the forest outside my house, watch TV.

Man from Uranus will be performing Saturday 18 June at Vivaz, Huntriss Row, Scarborough as part of this year's SAN Expo.


The School of Intermedia and Performance Arts at University Centre, Doncaster is to host CoMA (Contemporary Music-making for Amateurs) Summer School, which runs from 23rd to 28th July.

CoMA's award winning Summer School, which has run annually since 1993, offers a friendly, non-competitive approach to contemporary music. A wide range of composition, improvisation, performance and music technology opportunities catering for all abilities, from complete beginners to experienced musicians and composers, are available.

The Summer School will make use of SIPA’s resources, which include 24 Pro Tools workstations, 18 Logic Pro workstations, 14 Cubase SX workstations, a 200-seat theatre and a dance studio.

Further information can be found at and


Applications are invited for full-time research degree studentships for students interested in single or cross-disciplinary research. You should possess a good first degree in a relevant subject and preferably have a Masters qualification in an appropriate subject. The studentships will commence in October 2005 and each carries a three year bursary plus fees. Please note that the college you will be registered with will be where your Director of Studies is based.

London College of Communication

Creative Research into Sound Art and Performance

Practice and/or theory based doctoral research in: sound art practice from a historical, conceptual or aesthetic dimension, the application of data-mining and data-manipulation technologies to creative sound art practice, and sound arts. Proposals which engage with archive materials are particularly welcome.


The Royal College of Music is seeking to expand its team of composition professors. There are opportunities for up to three part-time appointments.

All applicants should have experience and expertise in at least one of the areas listed below.

•    General 1-to-1 and group composition teaching at HE undergraduate and taught postgraduate level

•    Composition for screen and the teaching of this specialism, preferably at HE level

•    Composition and/or dissertation supervision of doctoral students to successful completion

•    Course management at HE level in composition, preferably including screen-based composition and supported by strong professional links in this area.

For further details see the RCM website at A letter of application with a full CV should be returned to Sophie Rees, Human Resources Manager, Royal College of Music, Prince Consort Road, London SW7 2BS.

Closing date for receipt of applications is 1200 on Thursday 23 June 2005.

Interviews will be held during the week commencing 4 July 2005.


Temporary Lectureship IN ELECTROACOUSTIC MUSIC COMPOSITION (0.5) (REF:  HUM/147/05)
Applicants should be able to make a strong contribution to the research culture and teaching programmes of a 6* discipline (Music achieved 5* rating in 1996 and 2001 Research Assessment Exercises), working in the rapidly expanding field of Electroacoustic Music. The post is a two-years fixed-term contract in the first instance but may be made permanent subject to funding.

The appointment will be made on the Lecturer A scale £23,643 - £27,116 per annum (pro rata)  depending on experience

Informal inquiries should be addressed to Professor David Fanning, Subject Leader in Music, +44(0)161 275 4989; 
Application forms and further particulars are available from or from Directorate of Human Resources, Humanities HR Lime Grove, The University of Manchester, Oxford Road, Manchester, M13 9PL. Tel: ++44 (0)161 275  8838; Fax: ++44 (0)161 275 2064;
Closing date for applications: 1 July 2005. Please quote relevant reference number. 
Interviews will be held week commencing 11 July 2005.


Media Faculty of the Bauhaus University Weimar, Germany

“Experimental Radio” refers to radio as a global phenomenon and includes "Hoerspiel" and auditory media, journalistic, literary, and musical reflection, sound objects and sound installation as well as artistic strategies, interventions and cooperative working practice. Internet, wireless culture, and the faculty’s own radio frequency provide possible tools and methods of approach. Through the adoption of current
international tendencies and new technological means, countless experimental radio works can be tested, researched, and developed.
Requirements for the position include a completed university degree, university teaching experience, and relevant job experience in the area of radio art. An active cooperation with other projects within the university’s Faculty of Media Design - especially in the area of electroacoustic music and sound design, part of an existing cooperation between the Franz Liszt Academy of Music and the Media Faculty of the Bauhaus University - as well as the support of non-commercial radio initiatives on the regional, national and international level is expected.

General employment requirements are ruled in 48 of the "Thueringer Hochschulgesetz". Judicial employment classification complies with 50 of the "Thueringer Hochschulgesetz".

Further information (mainly in German) is available at:




The Department of Electronic Engineering, which has a strong research culture and is a lively, ambitious and expanding department invite applications from well-qualified prospective research students.

A number of studentships are available for students who meet the EPSRC residency criteria, and both full studentships (fees plus standard EPSRC rate maintenance grant for 3.5 years), and fees only studentships (again for 3.5 years) are on offer.  In addition several studentships offer additional support from UK industry.

Applicants should hold a recognised MSc degree, preferably at distinction level, or be about to complete such a course this summer.

Applications are invited from prospective research students with interests in the full range of research activities currently being undertaken in the department which include: Multimedia and Vision; Digital Music and Audio; Digital Signal Processing; Mobile Communications; Ad hoc Networks; Antennas and Electromagnetics; Network Performance; Intelligent Systems and Communications.

The closing date for applications is  30th June 2005.

More information about the department's research and an application form
can be found at

For information concerning EPSRC residency criteria see:
and also


Submission Postmark Deadline - July 11, 2020

With Music Beyond Performance: SoundImageSound III the Conservatory Computer Studio for Music Composition (CCSMC) in combination with the Conservatory of Music, University of the Pacific presents the fourth year of concerts featuring the work of artists who cross boundaries to combine the aural and the visual. For 2005 this event will again feature new works of "fixed media" which in some manner combine multi-channel sound and visual images without "live" performance. For complete submission guidelines and information about previous events go to:

Works in all media and style will be considered. Preference will be given to concert works but sound/image installations are also possible. The audio portion of the work may be composed for two to eight channels of sound. Preference will be given to work which exceeds normal stereo presentation.

The visual elements may be projected image (DVD, minidv, vcr, still image, etc.) or three dimensional objects within the space. Works requiring multiple projections will be considered. Any unique or unusual
equipment required for the presentation of a particular piece will be the artist's responsibility.

Artists selected for presentation are encouraged but not required to attend.

For further information contact


Venue: Mixed Reality Lab, University of Nottingham
Date: Sunday 2 October to Saturday 8 October 2020

are invited for the second PLAN event which will take the form of a
team-based hands-on workshop in Nottingham. Those interested
in taking part should submit a 2-page summary of their areas of
interest and expertise, so that working groups can be formed to
develop a seed idea into a hypothetical project.

Deadline for Expressions of Interest: Monday 4 July 2020

The Pervasive and Locative Arts Network (PLAN) is an international and
interdisciplinary research network funded as part of the Engineering and
Physical Sciences Research Council (EPSRC) Culture and Creativity
programme. The network aims to bring together practising artists,
technology developers and ethnographers with the aim of advancing
interdisciplinary understanding and building consortia for future
collaborative projects. Further details about PLAN and its membership
are available at

Cross-disciplinary teams will be formed to work on seed project ideas
and develop methodologies, encouraging cross disciplinary
experimentation. Proposals may develop into real projects or may be
entirely hypothetical. There will be opportunities to take the projects
further, in particular as part of the PLAN final exhibition at
Futuresonic 2006 in Manchester UK during July 2006.

We regret that due to the nature of this event, the number of participants
will be limited, and we will not be able to offer a place to all those who
could make a valuable contribution or who we would like to see attend.

Please send a 2-page expression of interest, including details of your
areas of interest, experience and expertise to the address below by
Monday 4 July 2005. Suggestions for seed ideas in the area of
locative-based media are also welcomed. Places at the workshop are
limited and the steering committee reserves the right to seed ideas and
put together diverse teams from the best submissions, based on the
expressions of interest together with views generated at the ICA Event.

The expression of interest should also include:

Contact Name and postal address
Email address

There will be no attendance fee for the workshop, but attendees will be
expected to pay their own hotel bills and travel expenses where possible.
We request that participants seek support for travel and subsistence from
their institutions or funding councils. Limited support is available from
PLAN for participants without institutional affiliation or other means of
support, please contact us for further details.


A call for pieces for The Digital Music Research Network Summer Conference that we are organising this summer in Glasgow with other young researchers.

More information about the conference can be seen at:


Deadline 15. August 2005

Piksel[1] is an annual event for artists and developers working with open source audiovisual software tools. Part workshop, part festival, it is organised in Bergen, Norway, by the Bergen Centre for Electronic Arts (BEK) [2] and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of open source. Piksel05 will take place in Bergen october 16. - 23. 2005.

The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. Piksel is focusing on the open source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention the close connections between art, politics, technology and economy.

One of the results of the past Piksel events is the initiation of the Piksel Video Framework for 'interoperability between various free software applications dealing with video manipulation techniques'[3].

Piksel05 will also feature the release of the Piksel LiveCD[4], a Linux distribution containing the software used and developed at Piksel. The package contains a suite of innovative audiovisual and artistic software, free video plugins, and documentation from the past Piksel events.


The last two Piksel events has focused on live art/audiovisual performance, but for Piksel05 the main focus will be an exhibition in collaboration with Hordaland Kunstsenter[5].

For the exhibition and other parts of the program we are interested in submissions in the following categories:

1. Installations and interactive work Audiovisual installations created and run solely using open source software. The theme for the exhibition will be loosely related to 'games' and the gaming experience.

2. Audiovisual performance Live art realised by the use of open source software.

3. Software Innovative artistic tools or software art released under an open licence.

Please send documentation material - preferably as a URL to online documentation with images/video to

Deadline - august 15. 2004

Use this form for submitting (or go to the online form at

1. Name of artist(s), email adr.
2. Short bio/CV
3. Category
4. URL to online documentation
5. Short statement about the work(s)
6. List of software used in the creation/presentation of the work(s)

Or send by snailmail to:

att: Gisle Froysland
C. Sundtsgt. 55
5004 Bergen

More info:


The "Elektramusic - electroacoustic and contemporary music" CD will be produced in the last term 2005. It will be mainly dedicated young emerging sound artists and composers. It will be distributed to comporary music centers, documentation centers and electroacoustic studios and festivals.

So we invite composers willing to participate in this project to read about our submission rules on
details and rules  : 

- Participation in this project is open to composers of any nationality, aged from 18 to 40 (at the time of submission). 
- The composers can only submit one work.
-  Works in collaboration (two composers or more) are also accepted.
- Submitted works mustn't have been awarded yet (music prize, competition, grant,  commission, ...).
-  Submitted works can be electroacoustic only music (music "for tape", acousmatic music,...), mixed music (music for instrument(s) and electronic), or electroacoustic music for dance, video, multimedia...

Composers willing to participate are asked to :

 - submit their music on an audio CD or DVD (multitrack works must be submitted in stereophonic version).  The CD/DVD will be easily identified and will include the composer's first name and name as well as  the exact title and its duration.
 - print, fill in and sign the submission form (
- include a short composer's biography and program notes.

Please send your submission by snail mail before 1 October 2005.

Deadline: August 15th 2005

"Astas Romas" is organising the second "International Festival of  Electronic Art 404", to be held at "Centro Cultural Parque de EspaÒa" and "Centro Cultural Bernardino Rivadavia", in Rosario, Argentina from November 29th to December 2nd, 2005.

"Astas Romas" is making a world-wide call to artists and theorists to take part in this Festival 404'05 in order to estimulate and divulge new productions around electronic art. Authors may participate in the following areas: net-art, still image,  animation, video, electronic music, audiovisual set, theory, performance and any other proposals made by the authors.

The program includes: screening of videos and animations, conferences, performances and concerts.
Participation in this festival is free, open, and has no age-limit. The Festival’s deadline to present works is on August 15th 2005. The date will be taken from the post office cancelling stamp. The only requirements to submit your work are to follow the instructions published on:


New Deadline 31 July 2005.

SoundLab Channel
is looking for soundart works of
a) experimental character
b) electronic music
c) Voice -sound/music integration
d) and other forms

Subject: there is a general subject---> "memory and identity"
and special subject for edition III ---> "pleasure/grief"- "love/hate"

The submission has to be posted on a webpage for download, please do not send it as an email attachement. Submission format: .mp3
Size: Max 5MB, exceptions possible, but on request.

The authors/artists keep all rights on their submitted works.

Deadline 31 July 2020
Please use this form for submitting:
******************* of artist, email address, URL
2. short biography/CV (not more than 300 words)
3. works (maximum 3), year of production, running time
a) URL for download
4. short statement for each work
(not more than 300 words each)

The submitter declares and confirms that he/she is holding all author's rights and gives permission to include the submitted work in "Soundlab" online environment until revoke.

Signed by (submitter)

Please send the complete submission to:

subject: Soundlab Channel edition III

Deadline 31 July 2005.

This call can be also found on

Western Grey – Glacial Erratic

A glacial erratic is a piece of rock carried by glacial ice some distance from the rock outcrop from which it came. Often the sizeable rocks that now sit in parks or fields are officially known as erratics and were dumped there by glacial activity thousands of years ago. Solid and uncompromisingly present, such rocks often bear little resemblance to nearby geological stone types. Observing such phenomenon, one might wonder how a giant lump of granite comes to sit in a field in the middle of a region that is mostly chalk and clay. Similarly, one might wonder how the incongruous selection of instruments and musicians represented in this soundscape, might have come to play together.

The relationships built up between David Brown’s electroacoustic guitar, Sean Baxter’s drums, and Philip Samartzis’ electrical mechanical and environmental sounds are hard to understand, and the variety of sounds achieved between the three skilled improvisers is, at times, uncomfortably broad. It is difficult to determine what organising principle has been used to forge the dissonant sounds into a cohesive form, and yet the recording does not feel unstructured. Jarring attacks and tense pauses in the first track, electrostatic transfer, are percussive and seem random, but soon unfold into an exciting, improvised dialogue between unconventional guitar, playing, shimmering drums, and careful electronic interjections. Drumming sounds move persistently, but without recognisable structure, beneath discordant and unpredictable sounds that originate from the electroacoustic guitar. Beneath this semi-acoustic interplay, Samartzis’ electrical sounds fizz and simmer, like a restrained undercurrent, beneath the energetic beats and twangs. An excruciatingly slow and tense crescendo comprises the fourth track, open space, in which Kaffe Matthews adds some environmental manipulation to the whole brew, and in which the sounds of a guitar being pushed to its sonic limits, become reminiscent of ice-sheets grating against one another, evoking once again the idea suggested by the title of the release.

Throbbing, high-pitched electronic sounds build from silence, very gradually in this last piece, eventually becoming a migraine-inducing high-pitched sine wave that undulates insidiously around in your ears, before the guitar comes in, being plucked, rubbed, hit, and played in all ways unconventional. There is something hard and persistent about the relentless quest for original sound in this pushing for new forms; as though it would be unacceptable or unimaginative for the guitar to simply be strummed, or for the laptop sounds to become less tense, less oscillating, less persistent… there are spaces in the music, but it is hard not to be tense in these spaces, awaiting the next aural attack, and I can’t help wondering if all the jagged edges in this music are really necessary.

It feels as though the quest to cross new frontiers within free improvisation, or the quest to pioneer sonic possibilities sometimes dominates this recording, so that the result is interesting as something to actively listen to and intellectually understand, but not enjoyable beyond offering the technical description of an experiment. There is a very tiny section, towards the end, where the sound of running water is discernible among the frenzied pluckings of the guitar, a sense that the ice in this music is melting; but otherwise, most of Western Grey’s glacial erratic left me feeling abstract, lost, and cold.

Reviewed by Felicity Ford
Felicity Ford is a sound-artist and writer. Her most beloved possession is her shiny, red accordion, but her advancement on this instrument is hampered by a frequent desire to play with the internet instead of practising arpeggios.


Evol - Magia Potagia (mego)

Barcelona digital splat duo Evol document the last 3 years of their investigations into brutal and bloody algorithms on their new mego release.

Using the ethic of not editing the 100% computer generated noise and fractal splintering, this collection contains 3 tracks and demands the listener to listen or leave!

"Punami potagia" - is actually from another series of work that was started in 2002. Combining complex frequency modulation techniques and strange

attracters, evol seem to be building a phonic tower  of Babel. As they manage to evolve the language the bottom of the tower collapses under its new understanding. The process continues, fighting a losing battle,constructing language whilst being deconstructed at the other end. This probably has something to do with the non-editing process painfully employed. The narrative of these cannibalistic bird phonics is lost, the slave needs it master otherwise the field will not be ploughed and in this case the computer sounds are pleading for some kind of interaction -some kind of edit - some kind of touch. Maybe evol wanted this inhumane sound - it's only when a spasticated "lacocaracha" fires in you realise that there was some kind of flesh touching the mouse.

On "pus pus pus" - they use nano changes in pitch, velocity and an anti-spatial structure. The composition only allows the listener space at certain times, leaving you to navigate a drone maze filled with burnt bees in A minor. I found myself moving around these pulses like a rat covered in honey, getting more and more frustrated and anxious that there was no way out. Effective, but its initial power faded and my feeling of frustration turned to boredom, an edit of this piece would have done it more's 19 minutes long!

The final track is "walpurgis" and is based on a North European myth about a female Saint. The sound of 1000 pagan fertility bells melting and merging with a hypnotic and hypocritical church drone on 3 tonal levels is an interesting concept, but one which is lost under non direction much like the work as a whole. Evol need to be masters of their software, not slaves.

Reviewed by Justin Wiggan
A member of dreams of tall buildings, geography of nowhere and a brother in the order of the wing.