Four soundworks germinated with co-existence in mind. Four points along a route of continual transformation. Environments formed of magnified degradations and eruptions. Single cells and clusters multiplied and mutated. Spaces disrupted by small collapses and stark ruptures....
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Gough creates her stunning work on a computer, shaping an array of heavily processed sources—from bassist George Cremaschi’s and trumpeter Peter Evans’ live playing to field recordings—like abstract building blocks. She’s referred to the swift, surprising arrival of new sounds and rhythmic motives as ‘edges’, and, indeed, there is an improvisational, front-like quality to every new influx, dispensing or dissolving its pre- decessor. Despite the seemingly restless shifts, deliberate, recurring patterns in the varying waves underline Gough’s compositional logic. - Peter Margasak for DownBeat