The labelled CDR comes in a paper slip sleeve, and this is presented inside a colour outer slip sleeve. This features a selection of pictures of blue & red wall covered in a mass white of squiggles & shapes, scrambled up paper, and the albums title & the projects name. The CDR comes in an edition of 25 copies, and as this review the label still has copies.

From the out set I’ll have to admit I have little or no love for  the ‘lower-case’ genre. With it’s mixture of often very quiet or distant field recordings, & more than a little uneventful flow- I mostly find it deliberately artful, and frankly  pretentious. As a result, I approached this release with great caution, so I’m happy to report I did get something postive out of this release.

The release takes in three tracks, and each of these run between nineteen & nearing twenty seven minutes. All of the tracks here are created via acoustic recordings of paper manipulation, and it’s surprising the depth & shapes of sound that Keller creates from his source. And thankful, unlike much of this genre, it’s all captured at an audible & fully divined recording level- so clearly you can pick-up every detail of the tracks make-up

Opening up the album we have “Canticle” and this is built around a highly layered selection crunching, folding, and crinkling textures- these together create this detailed mesh of feasting textures, which rather brought to mind what the amplified sound of hundreds of capillaries munching of crisp green leafs might sound like. Though there is both clearly shape & design to the composition, because as you make your way through the track you can make up reappearing texturally shapes & patterns, as well as shifts in the layers themselves- which of course in turn pulls you in deeper into the whole thing.

Next we have “Bars and Fails”, and this track finds a more unformed sonic structure of folding textures- which to my ears sound like it’s  almost creating a vast unfolding passage made purely out of  paper. Quite how Keller has managed to arrange the texture in this form I’m unsure, but it’s a very weird sensation when listening- it truly is like you walking through a building made purely out of folding & unfolding paper. Once again there are shifts in the layers of sound present in this track- with seemingly sudden worming piles of folding appearing, which creates a feeling akin to some strange shape suddenly appearing from the paper room, or corridor your walking though.

Last up we have “Advance Of History”, and this is the shortest track here at just under the twenty minute mark. For this track the folding, scribing, and crinkling paper textures feel more busy, and at times muddled in their patterns- on the plus side this does make one constantly trying to follow the path of a certainly textures, though on the negative side it does at times start to blend in together more too.  So I do enjoy the often fairly manic & rushing pace of this track, through personally it just felt like it went on a bit too long.

So while I still can’t say I’m a fully fledged fan of the ‘Lower- case’ genre, Anatoma Tobeyoides has certainly given me food for thought about what is possible with-in the genre. I can certainly see my self playing the first two tracks again, and that’s a lot more than I’ve felt about anything else in genre- so a tip of my hat to Mr Keller for doing that.