Taking the form of two long tracks, Electroacoustic [...] is two hours of digital and analog chaos. Russell's track is the beast here, clocking in at 72 minutes. Over this time, so much ground is covered that it would be impossible to succinctly describe it. Ranging from distant, ambient glitch to harsh distortion, Russell's "Mega Edit" has something for everyone. I much prefer Russell's edit because of the Pain Jerk source material. There are some seriously blistering elements on display here and work very well in juxtaposition with the softer, more glitchy sounds that make up most of the track. Overall, though, the space covered and drift between styles feels unfocused and haphazard.

Pain Jerk's edit clocks in at a more reasonable 35 minutes. Since he's re-editing and re-arranging Russell's files, one shouldn't be surprised that it doesn't sound like typical Pain Jerk. Throb, high pitches, and randomness are three descriptions for this edit. Much like Russell's edit, this track feels too disconnected. Not being too into glitchy sounds anyway, this one was a let down for me.

Electroacoustic [...] took two years to edit and re-record, but it surely doesn't sound like it. Some of the source material is nice, but when slammed randomly into other, completely different pieces, it doesn't always work out. This collaboration may get mouths drooling on paper, but doesn't really carry through sonically. I would rather have just heard the Pain Jerk material and called it a day.