Not a collaboration, but a split; Colley gets the A-matrix with 'Intentional Accidents for Microphone', a track with sounds as contradictory as its title. Static and hum are the main tools, presumably being built from unadorned microphone (+ mixer + amplification, I'd guess) and it's incredibly composed, with long slow passages of almost-nothing that rev into static roars, only to be cut out by either mute-button inline editing or some post-processing. My bet is on the former. It's an approach to electronic minimalism that sounds really indicative of the era (2004) but I don't mean that to be diminishing. On the other side, Ohio noisenik Mike Shiflet starts '4 a.m. with Chris and Dan' in an ecstatic manner, and the emphasis is on the static. This track is from a live radio performance on WFMU so it naturally sounds less controlled and tense than the Colley track. There's a repeating thump, like a turntable that's finished, stylus bumping the run-out groove, and it adds a chilling momentum underneath the horizontal colours of the oscillations that stay constant throughout. Both sides of this record are careful, even restrained; yet I wouldn't say delicate. Both sides end in locked-grooves (of course!) but Shiflet's has a sudden menace that gives this a fond farewell.
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