Curiously, with such effort given to the visual aspect of the release, the actual sounds themselves seem somewhat basic and disappointing on first listen; but after a while, both tracks reveal greater depths. The Guilty C. track, “Rest In Peace In Town”, is a furious gust of hiss that spirals around the seven-inch. Underneath this arguably simplistic layer of noise is a submerged, more bassy, drone; it alternates between sounding like feedback and sounding more like a bowing noise. This adds an element of suspension to the track, giving it an almost mournful quality.

The Pato track, “Brace Brace“, is a nice cut-up of lo-fi synthesizer, noise, feedback and primitivist computer babble - those kinds of tones. All cut-ups rely on skilled deployment of rhythm, timing, movement and tension; and here Pato doesn’t fail to disappoint. There’s a very lucid sense of progression in the track; the sounds move along in little flurrying clusters, with a surprising sense of space and calm on display. Its not even remotely a breakneck 100mph assault - the pacing is playful, not aggressive and, if anything, it has the same feel as a very early piece of electronic composition. There’s a nice contrast between the crudity of some of the sounds, and the loving construction and attention to detail that has clearly gone into the track. In a piece that's only three and a half minutes long, Pato covers a lot of ground; without ever letting the created tension drop for one second. The more I listen to it, the more it opens out.