Both sides, “XX” and “XY”, have drums and electronics colliding in pummelling rhythms; like the most abstract and difficult powerviolence, or Yowie recording for the Digital Hardcore Records label. Its a blur of snares and electronic squalls and throbs, split across the stereo channels. The playing is insanely tight, beyond telepathic and leads to two initial conclusions: either these tracks are incredibly meticulously composed and played, or MoHa!have an improvisational understanding that beggars belief. The third conclusion is simultaneously less exciting and more interesting: the electronics person (Hana) is processing Olsen’s drums in real-time. Its an old trick - I think I saw Duracell doing it over ten years ago - but an effective one for creating a monolithic wall of rhythm. Presumably using triggers or contact mics, Hana converts snares and kick toms into massive squelches and abrasions; cymbals into high-pitched whines and noise bursts - whilst also adding electronics over the top of this maelstrom. The “XX” side, ”Naaljos Ljom”, sounds like a fairly straight processing of drums; but “Brikjande Glime”, on the “XY” side, has a fuller sound, with the electronic elements sounding less obviously led by the drums.

Its terrible to take such a formalist approach to a recording, but to some extent my enjoyment of it is utterly guided and informed by asking: how did they do this? Although, to be fair, ultimately no matter how MoHa! created these tracks, the fact remains that they are rather barren and basic to my ears. The razor sharp precision of the rhythmic twists and turns, whilst technically stunning, doesn’t in itself create anything too interesting for me. It basically all amounts to a big rhythm machine - something that cries out for a third element to play against and across these hard, stretched drum workouts. It just feels a little thin as it stands.