For this effort, a pure sound at the frequency of 2kHz forms a malleable network which is lubricated by steady rhythmic formulations. Accordingly, the concerns of these compositions, specifically those featured on the second disc, are technical, not musical. Cold, clinical and transfixing in its sparse, endless motion, these works slowly suss out infinitesimal combinations, seeking their optimal modulation and technical sophistication. Even when certain pieces seem but an unending stretch of tonal stasis, a gritty glow or subtly shifting set of tones will fizzle to the surface, reminding one that, like a gambler who tries to exhaust all of the permutations in a game of chance, Gintas K is trying to explore all of the possibilities of his program. With each study set at just over a minute ‘s length, Gintas K ventures through a spectrum which ranges from alienated high notes, frenetically vibrating shards of sound and malevolent streams of white noise which speak of chaotic disintegration. Despite the fact that certain moments are clotted by intense pressure, the mathematical precision of the movements means that they don’t cast a shadow on matters of a sublunary nature. Instead, this is a universe of calm indifference, unmarked by memory or a clear sense of time. The first album strikes a markedly different poise, though one which is nevertheless staid and aseptic. Individual compositions resurrect a post-techno formula, but in its overly strict adherence to the model, it endows them with a certain aping quality. This approach opens up a sort of ironical distance in the heart of the works, just enough for a bit of play and interaction to begin again. On “Koto,†the electricity from the brisk pointillism of the electronics introduce a certain physicality, but is then camouflaged by a monotone drone. Similarly, numerous other tracks direct the rarefied minutiae of the high frequency tones into a relation of structural tension against the relentless flux of the rhythmic movements. The sudden appearance and disappearance of gaps in these works thereby permits one to pass from a somnambular absence in the simple decoding of the tightly sealed segments, while the airier compositions call for reception and a certain pleasure in their subsequent interpretation. (MS)