Mr. Feathers exists in the realm of the possible. Much like friend (and Triangle Earth owner) Otto Von Schirach, the emphasis on the visual aspect outside of the presented musical medium (that is, their appearance versus their collections of CDs and 12”) seems to be a tool for sonic enhancement over visual frenzy. When not in all white with a head covering made out of craft feathers or thrashing around with OVS, Mr. Feathers makes his own audio explorations, more in the realm of that oft cursed genre “dubstep” than the schizoid drill/drum/break/noise/dub/2/hard/speedfreak beauty that the mind usually associates with Triangle Earth. That isn’t to imply that Galactic Trinity is a black sheep or deformed offspring to be cast off, but rather that Feathers’ influences side more with the texture than the movement of a piece. It’s actually more tempting to place Feathers as a minimal artist in the genre, a take on The Field’s extreme control in a Rusko setting, but that presents an even larger batch of issues than just lumping his music in with any one style. Imaginative and often captivating in a genre that suffers from aural turnoffs, Galactic Trinity wedges in disparate enough sources next to each other to qualify as Schirach-step over straight dub.

Worth noting here is the manner in which each track tends to build off of typical tropes whilst toying with their normal operations. My Eye’ has the wobbled and detuned saws of every dubstep song of the past three years, but, minus the wild oscillations and a severely restrained note choice, the synthesizer sound is the focus more than the single note being pumped out. Similarly, around the 3’00” deconstruction (no break down to be found here), samples of what appear to be Roland hand percussion and more of the 808 than just the kick come in for literally four bars before vanishing, and that single move of selective programming saves the otherwise overlong coda by injecting 10cc of What The Fuck Just Happened. This insertion and shoehorning of sounds serves as the catalyst for movement more than the chord relations of the scale, with ‘Neothalic’ riding an amassed horn chord straight out of ‘The Sun’ by The Microphones before quoting Also Sprach Zarathustra…all of which happens before dropping into a bassless C section to explore percussion. Breakneck edits abound in a setting that contextualizes them all into a cohesive unit, it would seem that Mr. Feathers worries as much about being interesting as what the nth degree of his scale is, skirting but avoiding the threat of tuneless changes (one of the numerous pitfalls of many, many an electronic experiment).

Brevity is the key here. At a scant 25’34”, Galactic Trinity manages to drift by with such ease that the disc functions as much as background chill music or a captivating freakout (dig the watery slide of ‘Zombies from Outer Space’ on its own for a prime example). Often relying on the standby kick of the 808 (as well as its snare and cowbell AND hi-hats), the percussion choices range from brooding and angry reverb swashes that threaten to capsize oil tankers with their metallic scrapings (‘Planet E’) or fit in with a Miami bass track from the heart of the galaxy (‘Alien Conversion Machine’). Compounded with the actual number of outside samples, both vocal and percussive, Trinity adds to the mythos of the sound of Triangle Earth in a way that a Lovecraft fanboy might add to the Great Old Ones mythos. Rather than confining himself to a genre type, Feathers explores what it means to release “dubstep” or “electronic,” often crafting a style that covers the bases from early ‘90s acid (and ‘80s electro) to the above mentioned drill ‘n bass, a move that ultimately carves out the Triangle Earth approach in its wake. Loathe mentioning him only for the open chance of comparison, the presence of Otto Von Schirach cannot be left unmentioned in the approach. ‘Ghosts Are Coming’ could fit in easily on, say, Maxipad Detention, but is so tied to the cellular approach that it could never actually belong to the style Schirach plays in. Yes, rather than shift every minute or less each song is given time to ride ostinatos and, in a move similar to pieces like In C, move on to the next looped unit after a number of repetitions states and affirms each cell. Tricks like “The Drop” are damned in place of movement on a micro level, often nothing more than a new percussive element or a break for a car to pass, making Galactic Trinity a dancefloor’s worst nightmare and a listener’s wet dream. No more waiting for something interesting to finally happen, because everything worth hearing anyway either starts the track or enters at the moment most conducive to its presence being noted. Restraint and brevity – two things that I never thought I’d apply to describing a dubstep release.

Overall, the effect is nothing short of a trip. Just given the textures and samples alone, this Trinity is a gloriously unholy union of styles and influences. Only when emulating the modern dubstep style does the album fall flat (‘Robot Morphious’), usually just resorting to a duller set of loops or a more banal and unimaginative kit of transients. For all of the promise of the brief album – the ability to focus more easily, the promise of stronger songs and less filler (or at least the enlarged hope for), and the distillation of ability and skill channeled into those focused minutes – it’s uncanny how Galactic Trinity plays more like an EP for an album than a full length proper. With an intro under 90 seconds, ‘Robot Morphious’ clocking in at 75 seconds, and a closing track of nothing but bass frequencies for 1’42”, the remaining seven tracks all clock in under four minutes. No lengthy experiments or journeys through complete switch ups, but instead a very intensely focused collection of songs that each operate as insular machines. That individualized sense provides no real unity save for scant production elements and tempii markers, and can make highlights like ‘Neothalic’ and ‘No More Sugar’ zip by in what feels like a minute and a half or less. In the end, despite those complaints, Mr. Feathers has presented a collection of tracks that work next to each other and manage to be completely worth the time and ensure repeated listens.

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