The glitch design here is super tight. I mean, really crisp. Blips and bleeps are surgically sharp, and the bass stabs cut through like pressure cracks in synthetic stone. He’s probably using layered granular effects and maybe some multiband distortion chains—could be a mix of Max devices or even Eurorack with precision envelopes. The processing feels dialed in at a macro level—never noisy for the sake of it. Everything’s placed with care.

There’s a certain Raster-Noton DNA here too—think early Byetone, Mika Vainio’s Vandal ep, if they leaned a little more playful and less stark. The rhythm and groove are fractured but always land. You can hear it in the transitions especially—they don’t dissolve, they pivot, like geometric flips on a visual grid.

This is one of those rare albums where it feels wrong to pull out individual tracks. Every piece here folds into the larger structure, like sonic tessellations. You can tell just by the track titles—everything’s mapped conceptually to ideas like pattern, rhythm, glitch structures, sequencing. It’s not “songwriting” in the classic sense—it’s more like data choreography.

The whole thing plays out like one big listening puzzle. Not overly complex, just cleverly arranged—like music written with the grid rather than on it.