From the dark intersections of Austin and Portland, where sound becomes both art and experiment, Evil Gima stands as a bold testament to music’s power to disturb, provoke, and transcend. Founded in 2015 by Dave Wirth, an award-winning film composer known for his cinematic storytelling and membership in The Double Headed Seagulls, Evil Gima was conceived as a creative sanctuary, a space where boundaries were meant to be broken and sound itself could be reinvented. Wirth envisioned a project that would challenge the notion of what “music” should be, favoring emotional honesty and textural complexity over comfort and convention. But Evil Gima truly took form in the early 2020s when Wirth invited longtime collaborator Jorge Martinez, a critically acclaimed musician and artist, to join him in expanding the project’s sonic horizons. The partnership was alchemical, two minds drawn to the same dark gravity of experimentation, working not to please but to provoke. Their creative synergy gave rise to the 2021 release Alluvion, a record that blurred the lines between ambient music and psychological exploration. With Alluvion, they earned a spotlight on Bandcamp’s Daily, where their work was described as “chilling ambient music with mournful tones and barren textures, perfect to score an abandoned cityscape.” The recognition affirmed what Evil Gima had already proven to themselves: that music could be a medium for catharsis, a way to exorcise the restless noise that lives inside the mind.

Evil Gima’s sound is not easily categorized. Rooted in ambient, experimental, and avant-garde traditions, their music thrives on imperfection, the hiss of feedback, the grit of distortion, the beauty of what most might call noise. Their compositions explore themes of existentialism, societal dissonance, and emotional entropy, pushing listeners to confront what lies beneath the surface of comfort. Each piece is both a question and an answer, a journey into the abstract architecture of emotion. For Wirth and Martinez, creation is not about perfection but exploration, a deliberate dance between control and chaos. This philosophy has earned them a dedicated following among those who crave sound that challenges as much as it mesmerizes. And now, with the release of their latest project, “Elements”, Evil Gima returns more daring, more self-assured, and more untamed than ever. Released on October 30, 2025, through Fire, Fire, Red Star Down! Records, “Elements” is the result of one feverish weekend of musical experimentation in May 2024, when Wirth and Martinez locked themselves in a room filled with Eurorack synthesizers, a Roland Space Echo, cigar box guitars, and an open invitation to chaos. What emerged was not just an EP, but a sonic experiment in energy, tension, and transformation, a record that dives deep into the raw chemistry of sound itself.

“Elements” is both a continuation and an evolution of Evil Gima’s earlier work. Where Alluvion floated through desolation, “Elements” burrows into it, dissecting the mechanics of atmosphere and distortion to reveal something primal beneath. Across its four tracks, the duo explores the unstable equilibrium between harmony and noise, structure and entropy, creating a soundscape that is as haunting as it is hypnotic. Built on droney textures, unstable melodies, and evolving modular synthesis, the record feels alive, mutating with each listen. In the words of screenwriter Kirt Bozeman, “Rejoice, human. Music is not dead. And you are called to obliteration.” That statement captures the essence of “Elements”: it’s not background music, it’s an experience, a descent into the raw core of sound where beauty and discomfort coexist. Evil Gima doesn’t seek to entertain; they invite you to unravel. With “Elements”, released October 30, 2025, Evil Gima has once again proven that experimental music is not merely about abstraction, but emotion, a fearless confrontation between the artist, the sound, and the listener’s own subconscious. It is the sound of two creators pushing past the limits of genre and into the boundless terrain of imagination, where every distortion tells the truth and every silence holds weight.

Elements EP Track List:

Enthalpy:
“Enthalpy,” the opening track from Evil Gima’s “Elements” EP, begins like a slow exhalation of energy, an awakening built on tension, restraint, and atmosphere. The moment the track opens, the listener is engulfed by a thick wave of ambient distortion, where muted drones rise and fall with unpredictable grace, as though the air itself has been shaped into sound. The production feels organic yet entirely alien; layers of modular synthesis intertwine with subtle analog noise, forming a sonic texture that is both tactile and ephemeral. Every oscillation seems alive, breathing in rhythm with the subtle low-end pulses that emerge beneath the surface. The mix is intentionally spacious, inviting the listener to step inside its sonic environment rather than merely observe it. It’s a haunting entry point, one that immediately establishes the EP’s cinematic scope and experimental courage. The overall timbre recalls the works of dark ambient pioneers, yet Evil Gima transforms that influence into something rawer and more personal, like an emotional storm restrained by discipline.
As “Enthalpy” progresses, its structure unfolds less like a conventional composition and more like a gradual chemical reaction. Hissing layers of static and subharmonic waves create a feeling of volatile pressure, building in intensity without ever breaking into chaos. Subtle percussive elements, soft metallic clangs and distant thuds, appear like echoes from a vast industrial landscape, giving the track a mechanical heartbeat beneath its drifting synth textures. The duo’s mastery of modular manipulation is evident in how sound elements shift seamlessly: one frequency decays into another, one pulse morphs into a dissonant hum, yet the transitions remain fluid. The harmonic design plays with dissonance and microtonal intervals, creating a sense of emotional unease that deepens with every passing minute. Despite its experimental surface, there’s an undeniable logic in its progression; every sound feels deliberate, every silence weighted. The tension that defines the piece becomes a narrative force, carrying the listener from stillness to turbulence, from intimacy to expanse, without ever relying on melody or rhythm in a traditional sense.
By its closing moments, “Enthalpy” has transformed from a sound experiment into a full sensory experience. What began as abstract ambience evolves into a dense wall of emotion, where distortion and harmony coexist in fragile balance. The track feels like the sonic representation of energy contained and released, the very concept of enthalpy rendered audible. The low frequencies swell like molten heat beneath layers of atmospheric resonance, while high, whispering tones flutter above, creating a chilling contrast that evokes both calm and discomfort. Evil Gima’s decision to leave rough edges intact, tape hiss, feedback hums, and uneven oscillations, adds authenticity to the soundscape, emphasizing their philosophy that imperfection is beauty. In its final seconds, as the textures fade into silence, the listener is left with the lingering vibration of something profound, an emotional residue that feels simultaneously mechanical and human. “Enthalpy” stands not only as the heart of “Elements”, but also as a declaration of Evil Gima’s artistry: a fearless pursuit of sonic truth, where every noise tells a story and every silence holds meaning.

Nuclear Charge:
“Nuclear Charge,” the third track from Evil Gima’s “Elements” EP, detonates with a calculated sense of energy, embodying the EP’s title concept with precision and sonic power. From its opening seconds, the track asserts itself with a restless, vibrating pulse, an oscillating frequency that feels like the buildup of atomic pressure waiting to explode. The soundscape is dark, rich, and immersive, built around layers of modular synthesis that shift and collide in unpredictable ways. The low-end hum feels radioactive, a thick bass resonance that anchors the entire track, while the upper registers flicker like electrical discharges, snapping and hissing with mechanical urgency. The production maintains a delicate balance between control and chaos; every sound seems on the verge of collapse, yet it never loses compositional direction. This duality, between stability and volatility, perfectly mirrors the song’s title, giving “Nuclear Charge” a thematic cohesion that extends beyond sound into atmosphere and emotion. It’s an aural representation of stored energy, release, and the thin line between beauty and destruction.
Midway through “Nuclear Charge”, Evil Gima intensify the tension with rhythmic mutations and sonic layering that feel both scientific and primal. There’s no conventional percussion, yet the sense of rhythm is undeniable, built from recurring pulses, modulated drones, and granular textures that function like invisible beats. The duo manipulates frequencies with surgical precision, bending tones in and out of phase until they form ghostly patterns that resemble a heartbeat under duress. Small bursts of white noise punctuate the mix like radiation spikes, while faint metallic textures ripple across the stereo field, creating a sensation of movement and depth. The mix is immersive, encouraging the listener to perceive not just with the ears but with the body, as subfrequencies resonate in the chest and skull. The progression feels intentional, methodical, like a nuclear process unfolding step by step. As the track evolves, waves of distortion rise and recede in cycles, mirroring the unstable balance of energy found within its title. This careful dynamic control keeps the listener suspended in anticipation, experiencing the full intensity of Evil Gima’s experimental craftsmanship.
By the time “Nuclear Charge” reaches its conclusion, the song has transformed from raw experimentation into a visceral emotional statement. What began as mechanical and abstract grows into something deeply human, a confrontation between technology and feeling, between restraint and eruption. The closing moments are a slow release, as if the energy that has been building throughout the track finally dissipates into an ethereal haze of decaying frequencies. The final hums fade into silence with haunting precision, leaving behind an afterglow that lingers in the mind long after playback ends. Evil Gima use texture as language, tension as narrative, and space as rhythm, achieving a level of depth rarely found in modern ambient music. “Nuclear Charge” captures the sensation of standing at the edge of an invisible explosion, immersed in danger yet mesmerized by its beauty. It is both a technical marvel and a psychological experience, reinforcing Evil Gima’s reputation as artists unafraid to turn sound into a medium of emotion, conflict, and profound transformation.

“Elements” stands as a striking embodiment of Evil Gima’s fearless artistry, a daring sonic journey that transcends conventional boundaries and redefines the very notion of musical expression. Across its four intricately crafted tracks, the EP achieves a delicate equilibrium between chaos and coherence, harnessing distortion, dissonance, and drone not as flaws but as vessels of meaning. What Dave Wirth and Jorge Martinez have created is more than just an experimental soundscape; it is a psychological experience, an immersion into the molecular structure of sound and emotion. Every tone, pulse, and echo feels alive, an evolving organism that reacts to the listener’s state of mind, exposing both vulnerability and fascination. The textures are raw and tactile, evoking sensations of heat, energy, and collapse, while the underlying narrative meditates on the beauty of imperfection and the inevitability of transformation. For those willing to surrender to its intensity, “Elements” becomes a kind of transcendental confrontation, a reminder that discomfort, when embraced, can be profoundly beautiful. It is a record best experienced in solitude, through good headphones and dim light, allowing each layer of noise and silence to crawl beneath the skin. Listeners seeking predictable melodies or easy gratification will find none here, but those drawn to sound as exploration, philosophy, and emotion will discover in “Elements” a rare and revelatory experience. As a whole, it confirms Evil Gima’s position as one of the most compelling forces in contemporary experimental music, artists unafraid to push their audience to the brink of sensation and thought. “Elements” is not merely recommended; it is essential listening for anyone ready to be unmade and remade by the raw, transformative power of sound.

Despite its haunting, eerie tones and the project’s prophetic moniker, ‘Elements’ is not certainly evil. Far from it. While its aural boundaries are soaked in gripping, noisy textures and dark harmonic work, the record itself is a child of wonder, a slice of committed, authentic artistry delivered by the creative minds of Dave Wirth and Jorge Martinez. Collectively known as Evil Gima, the pair threads the fine line between dystopian melancholia and chaotic, gritty industrial euphoria. 

What follows are four tracks steeped in escapism and abstraction, four pieces that challenge listeners on a personal level. We suspect not everyone will manage to even understand Evil Gima’s complex musical endeavour. One has to be courageous, ready to perhaps deal with negative and uncomfortable emotions. Yet, the final award is freedom – from oneself, from a troubled consciousness.

A celebrated and award-winning film composer, Dave Wirth originally founded the project in 2015, then extended a collaborative invite to critically acclaimed musician and artist Jorge Martinez. The formula behind ‘Elements’ sees the two heroes making good use of an Eurorack modular synthesizer, embracing rare musical idioms such as quarter tones and atypical scales. It all then converges into a decadent, dissonant stream of aural goodness. 

Avec Elements, Evil Gima signe un tournant audacieux dans sa discographie. Né d’un week-end créatif en mai 2024, cet EP de quatre titres utilise les synthétiseurs Eurorack pour explorer des territoires harmoniques inédits. Entre quarts de ton, modes atypiques et textures sonores inquiétantes, le duo pousse l’expérimentation jusqu’à ses limites, offrant une expérience auditive qui bouscule l’oreille et les repères.

L’ouverture avec « Enthalpy » installe immédiatement une atmosphère étrange : nappes granuleuses, pulsations sourdes et glitchs erratiques créent l’impression d’un laboratoire hanté où chaque fréquence semble chargée d’une mémoire thermique. Vient ensuite « Boiling Point Transfusion », où le bruit blanc, les distorsions liquides et les éclats métalliques évoquent une transfusion d’urgence, un corps sonore en surchauffe, prêt à exploser.

Avec « Nuclear Charge », l’EP gagne en intensité : synthés saturés, pulsations atomiques et échos radioactifs donnent une sensation presque martiale, où l’énergie se transforme en menace et la beauté devient toxique. Le final, « Exthalpy », plonge l’auditeur dans des drones glacés, des réverbérations fantomatiques et des silences suspendus, comme une chambre de cryogénie émotionnelle, offrant un instant de contemplation glaciale après l’ouragan sonore.

En moins de vingt minutes, Elements trace une cartographie sonore singulière, à la fois dérangeante et fascinante. Ce projet n’est pas là pour séduire immédiatement : il exige de l’écoute, de la patience et une immersion totale. Evil Gima confirme ainsi son goût pour l’exploration des marges du son, là où la musique devient expérience, presque physique, et laisse son empreinte longtemps après la dernière note.

At first, there doesn't seem to be a sound signal. Silence, therefore, shapes the initial landscape, intriguing the viewer. However, gradually and shyly, a shrill detail begins to emerge, breaking with the state of torpor. Between a sometimes hollow, sometimes sharp-looking shuttle, this texture ends up reaching its apex amid a sound that not only borders, but flirts gently with the dark. Entitled to echoing rhythmic pulses and an offering of sensory associated with loneliness, Enthalpy highlights the chaos of an initial dissonance, while making the listener plunge into a world of vulnerability and insecurity.

Contrary to what has been experienced in the previous composition, here the atmosphere is already presented in the midst of sonic silhouettes that bring with them the amazement, the suspense, the tense. By taking the viewer into a dark ecosystem of dark nuances, the song manages to cause fear in the face of pure darkness. In fact, there is no concrete, the tactile, but what Boling Point Transfusion does is put the viewer in a scenario as dense, hazy and sticky as the threshold. After all, their beehold-like sounds and strident whispers give the impression of feathered souls asking for help.

The stridency is already offered at its peak. From its haughty posture, the senses of urgency and immediacy shape the ecosystem in order to create a principle of tension in the sensoriality acquired by the listener. Of an acidic nature, the sound that shapes the landscape of the song brings with it the idea of an incendiary, but gradually combustion. The curious thing, in this process, is to realize that, even in the face of a principle of aggressiveness, the sound of Nuclear Charge even flirts, even if timidly, with the theme of synth-pop. Dangerous in its essence, the track clearly defends the idea of the impending, of the inevitable.

The scenario is graced by the adoption of the fade effect in. Like a kind of sound-narrative looping, the present song features the same introductory structure as Enthalpy. Of gradual sound awakening, but without hiding its shrill and acidic essence, the stripe makes the dark its safe harbor. Your comfort zone. Sensorily dense and tense, the band still draws attention for experiencing an exploration before the dark before a lens that borders the guttural. When sound reaches its apex of presence, it becomes linear and sequential, but does not diminish the purposeful nuisance offered to the viewer. Exthalpy is a track that still stands out for bringing the torpor amid a kind of dramatic, dark chaos.

Elements is an EP that simply gives wings to the imagination. However, not by a disneyresque, colorful and cheerful optic. Here, there is the dense, the tense. The chaos. Here, the shadows whisper and the silence murmurs. Darkness presents itself as the majority setting of all its sonic narratives.

It is precisely before them that the listener has to deal with his own weaknesses. Insecurity, fear, a sense of disprotection. Loneliness as proof of weakness associated with the perception of trust. Even if the tears run out at certain times, the drama Elements offers is fleeting and almost ludibriant. Here is an EP in which acid, synthetic and lo-fi unite in a dark and noisy aesthetic-structural rawness.

There’s something magnetic about music that doesn’t ask for your approval, it simply exists, raw and unfiltered, challenging you to feel something. With Elements, the latest EP from Evil Gima, that challenge becomes a reward in the long run. The duo made up of film composer Dave Wirth and sound artist Jorge Martinez have built a four-song collection that’s as haunting as it is hypnotic, a meticulously crafted descent into the dark corners of sound itself.

Created over a single weekend in May 2024, Elements captures the rare kind of creative alchemy that only happens when two artists surrender completely to experimentation. Wirth and Martinez, armed with a Eurorack setup and the borrowed magic of a Roland Space Echo, turn minimal equipment into a sprawling sonic world. Every drone, feedback loop, or distortion feels deliberate yet unhinged, as if the machines themselves were gasping for air. The result is music that sounds alive.

Evil Gima aren’t interested in comfort. The duo leans fully into the unsettling frequencies that might make most producers flinch. However, within that chaos lies an extraordinary sense of control. The drones stretch and morph, melodies twist just beyond recognition, and subtle textures rise and fall like voices that aren’t actually there. It’s experimental music that feels cinematic, born from Wirth’s background in film composition but stripped of narrative safety nets. For us, Elements legitimately opened our world into what music can be and the imagination behind it.

Across its roughly twenty-minute runtime, the EP conjures an emotional spectrum that few lyric-driven projects achieve. One moment, you’re caught in the throes of an anxious pulse like on the opener “Enthalpy” and the next you’re suspended in an ambient void towards the midway point with “Nuclear Charge”. With all the music we consume on a daily basis, it’s become difficult to grasp our attention, but this managed to do it a little too easily.

We’ll make it clear that this is music that chases commercial appeal, but honestly, who cares. It embraces imperfection as art, an idea that feels increasingly radical in an era of pristine production. You can hear the physicality of tape, the hum of electricity, the imperfections that make each sound unique. We’ll say it once again, but it’s that alive feeling that drew us to listen to the rest.

Evil Gima have created something rare, a record that exists completely in its own space. It’s dark but not despairing, yet still accessible to anyone willing to listen with open ears. Put it on in the dark, let it fill the room, and surrender. Even better, we’ve got a feeling it was released just in time for Halloween.

Reading Notes

1-3 Minute Read | Laptop or Tablet Recommended

Topics and Themes

Introducing Elements, a new ambient & experimental record from Evil Gima.

Over the years of working with Jorge Martinez on Evil Gima releases (and many more recordings as well), I've found it’s extraordinarily rewarding and challenging to make experimental music that means something.

The same is true for the opposite.

It’s easy to make experimental music that means absolutely nothing at all and lacks any merit. To make that kind of experimental music, all we really need to do is to make noise and layer it. In other words, find a sound, layer another sound on top, and voila: Mediocre experimental music.

Jorge and I constantly riff off each other to make something a little bit more inviting. There’s intention behind the sounds, a symmetry that pushes us (and hopefully the listener) into a weirder and weirder place.

We long for a consistency and symmetry in good music and we try to bring it into Evil Gima.

Similarly, we long for a piece of music to force us to sit back in our chairs and whistle, if not bristle, at the scope of it, not unlike the pause after getting a much needed punch to the face. I take particular pride in the fact that one person took the time to write of our previous album Alluvion, that “this is music for an emotionally intense fuck.”

For Elements, we hope to offer you songs of that same caliber, or at least in the realm of a comment like that. We reached to create experimental songs that have an underlying symmetry to them. We wanted to tell you a story. We tried very hard to capture a mood that we don’t often hear from music nowadays.

We reached for magical and at the same time intensely perverse and of a full-goblin mode…. at times incredibly unsettling…. at times completely blown out and followed by the sound of a well-deserved silence.

Jorge and I now offer you Elements, the next iteration of Evil Gima. Thank you so much for taking a moment to read this and for your consideration for listening to our challenging music. We love to make it.

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I’m still pinching myself that Bandcamp’s editors took a listen!

Chilling ambient music with mournful tones and barren textures, perfect to score and abandoned cityscape.

Queen City Sounds just gave Evil Gima a wonderful review:

One has to imagine that Evil Gima conceived of the song and video for “IT/AM” in some sort of creative tandem. The sounds themselves suggest spaciousness and texture like the snow and water droplets depicted in the video. The piano figure drifts while plinks of metallic sounds like processed windchimes or stringed instrument plucking and slowly resolving drones convey a languid atmosphere. It’s like the analog of natural processes unfolding like the accumulation of snow depicted in the video as it forms and melts into water and fills into ponds then evaporates and the cycle begins again. It’s a little like an orchestral piece Anthony Braxton might have written around the turn of the 70s if he had access to a robust electronic palette of sounds. That organic improvisational way of arranging noises in abstract, conceptual fashion that made him a rebel then and a style outside orthodox music making that ambient music and abstract free jazz aficionados appreciate now.

Pulling disparate threads of sonic traditions, Evil Gima creates a cinematic experience with the audiovisual project “IT/AM”. In the Jorge Martinez directed video for “IT/AM” the trailing melodies of Evil Gima’s forlorn piano arc across an alive sound palate of evolving drones and mechanical, almost bird-like musicbox percussion. Fans of dark ambient or deconstructed neo-classical music will find a lot in “IT/AM” and Evil Gima’s work to sink into.

(The full review)

Directed by Jorge Martinez:

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Listen to IT\AM & Evil Gima

Bandcamp | Spotify | Apple Music | Amazon | iHeartRadio | Deezer | Napster

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Preorder Alluvion by Evil Gima

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Advanced Press for Alluvion

“Listening to Evil Gima’s Alluvion is a singular experience. Its implacable currents of sound pull from two worlds. The first is a place mythic and terribly old, an ancient corridor where monsters lurk with the unknowable thing inside you. The other is an echo of our own voices, captured from some unimaginable future; deranged and waiting. It’s the only music I have ever heard that conjures the cosmic terror/wonder of the world unknown.

Evil Gima and Alluvion are a genre unto themselves, a separate universe from the familiar and predictable undulations of horror than can only speak to the surface of things. Alluvion peels you open and seizes that unfathomable reality within... then sets it churning.

Rejoice, human. Music is not dead. And you are called to obliteration.”

— Kirt Bozeman

Imagine three pianos recorded one at a time, and each of them was improvised. The pianists could only react when they heard a note. The result? This is the most ridiculously chill piano song.

To me, this record has a nice, sleepy feeling to it. Something to relax into, something to take a nice nap listening to (dare I say even on repeat?).

Evil Gima's ulu is a tour-de-force in ambient experimental sound. The songs themselves have no melody, no harmony (Aak And Quack excepted), and in many cases no sound that is recognizable. It was created using a number of different sound design modules and hyped to sound good at 85dB.

This isn't your suger-coated candy pop, feel good, I'm-the-king-of-the-world type of music. It's an adventure for those sonic searchers that are willing to listen to music with scruity and stoicism. Are you one of the few and proud?

Let’s keep this re-releases going!

Today's re-release is AES by Evil Gima. Evil Gima is a catch-all moniker for my ambient, dark, and experimental music collages. They tend to be great for staring out into space and relaxing into the textures.

After I moved to Santa Fe, NM, I was really hit hard by the epic cloud formations, the beautiful art, and also the cultural and historical amnesia. Read about the history of the city, and you'll be quietly freaked out.

Anyhow, AES always reminds me of that time of the ceaselessly changing skies of New Mexico.

I've also included the full liner notes of the record AND five Ableton Live screenshots of the projects. Perhaps you musicians would like that?

Deep, dark, and nightmarish, IT\AM is sure to enthrall you with an intense wall of sound and epic piano. Checkit!

You read that correctly... This album is not sugar-coated candy pop. It’s a full expression of the complete sonic spectrum of your listening station. I designed the music to sound excellent at 85db. Enjoy!

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Evil Gima — AES

This album consists of five songs without any rhythm but roll by like thunderstorms. I managed to capture a cloud formation in Santa Fe, NM that naturally fit the mood of this particular song on the record:

All five songs on AES are roughly the same: Ambient, without rhythm, and exactly what it feels like to lazily watch thunderstorms:

Evil Gima: AES

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Field Spectra — Austin, TX

Austin, TX by Field Spectra consists of five field recordings of nature in Austin. Recording locations included Shoal Creek in downtown Austin (the audio is posted below) and various spots in South Austin including the Golden Dome of Pure Knowledge. That's a really neat building.

If you're an Austin expatriot, this is the album to get:

Field Spectra: Austin, TX

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Read it at NoiseShaft.com
 

Flutters by Dave Wirth is an exclusively acoustic full length, divided to 13 arrangements of improvisative/super-contemplative string strumming. And there is a lot to be heard indeed, as frequencies demand full attention as they are finally given due time and real estate to claim their full share of murdered silence on.

"Technically" speaking, the artistic aim behind the disc is to showcase how awareness moves within an unrelenting type of layered existence which IT creates in the process, leaving behind traces of sounds, but now documented in larger-than-life proportions, courtesy of recording equipment entirely devoted to paint a very precise picture of audible stimuli. Read on to know more.

Wirth's music is deeply introspective, self-reflective, imperturbed, and dangerless. It has a concept of motion, even an ability to move, but it does not have any urge to do so on a constant basis. Instead, the album first and foremost is prone to invite the listener to re-discover the fundamental intimacy of the concept of sound. Wirth won't try to convince you of any special-, Mad Sk1ll LevelzZz at guitar molestation, nor he will bring forth a constant urge to discover harmonies that aren't conceived on this earth - although he will have surprises up his sleeves. With songs like "Penumbra Nadir" or the titular "Flutters", increased levels of harmonic awareness and playfulness is observable, toppled by the fact that Wirth always manages to stay away from the act of shaking his own hand - which would be very hard to do while playing "tAh" guitar while holding a coffee mug, anyway.

As mentioned, the core behaviour of the record is reflective of an artistic stance that does not seek to impress at all, as its aim is to re-discover and worship the importance of sound, and indeed this very awe-, this very fascination towards the magic of sound created out of nothing/out of mere potential, is captured and delivered on the release. As such, the disc is a necessary success. I have zero doubt that Wirth captured his soul while playing this, and it is up to the individual listener to find out if said listener is able to identify the pivotal points of soul movements/activities lingering in this deliberate self-abduction.

This agenda, to capture the movement of the player's soul, is primordial, while the anatomical structure of the respective songs is only of secondary importance. In his review request, Dave Wirth wrote to me that he had to convince the producer to not use any after-effects and highly occult sonic-wizardry through the release, let everything stay natural, as it was upon the creation of the tracks. A noble and sane goal: these precedents were recorded with a myriad of microphones, and the production values indeed are top of the foodchain, as each and every receptor of the ensuing recording apparatus is directed into capturing the full register of the acoustic guitar. And there is a lot to be heard indeed, as frequencies demand full attention as they are finally given due time and real estate to claim their full share of murdered silence on.

A deeply intimate release, which openly emerges to fetishize the timeless charm of the acoustic guitar, and said instrument won't have a single complaint in store towards this relentless dynamic. A legitimate, thorough love affair for all acoustic guitar lovers. Listen at 4:03, at the end of the "Penumbra Nadir" song: is that a sound of digestion?

http://noiseshaft.blogspot.hu/2017/01/dave-wirth-flutters-review.html

Two songs, originally created years ago and found on a random backup cd. Imagine the surprise! Two gems of droney, rain weather music.

Cover art by Jackson, William Henry, 1843-1942, photographer, Public Domain. Home of cotton picker.

Evil Gima: Cotton

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