Here we have richly varied, transoceanic transmissions from a Scotsman and a Southerner. Edinburgh's Brian Lavelle begins the hour-long affair with a beautifully composed set of electronics. Billowing, Voigt-ian clouds of synth and guitar ultimately give way to delicate sequences and organ patterns that swirl majestically around field recordings. Lavelle has been releasing experimental music for more than 20 years and his masterful ability to digitally blend and degrade sonics to the point of perfection is well evidenced herein. Georgia's Grant Evans (Quiet Evenings) answers boldly via his Nova Scotian Arms project with an utterly disorienting curve ball. Dissonance is the recurring theme here, with synth loops and burnt guitar riffs weaving in and out of each other and gradually pushing toward a hazy enlightenment. Like a high gravity brew, these two sides work in tandem to leave you at once blissed and dizzy.