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The hertz is a unit of measurement, equivalent to cycles per second and is named after Heinrich Rudolf Hertz who was the first to conclusively prove the existence of electromagnetic waves. Every musical note corresponds to a particular frequency which can be measured in hertz. With that helpful bit of information in mind (thank you very much, Wikipedia), you quickly realise that this scientific and mathematical theme that outlines R.Seiliog's debut album is something you cannot get away from. The whole axis of the body of work is based around eternally repetitive, cyclical structures and every part of the construction of the tracks is built around the rhythms. It's futuristic, atmospheric and completely chock full of imagination.

On a personal note, I had to listen to In Hz quite a few times before I even began to get my head around it. It's an incredibly rich and dense piece of work with layers upon layers of ideas and beats fighting for space. It's slightly overwhelming when you sit to listen to the whole thing in one go. The repetitive and beguiling rhythms work in such a way that they provide a framework in which R.Seiliog (aka Robin Edwards) is able to freely experiment within. Edwards' work is driven by a profound obsession with contrasting electronically produced sounds and hidden amongst the many layers of In Hz is a quest to push the boundaries of what electronic music can do.

Through endless experimentation, and without the aid of words to guide the listener, Edwards seamlessly creates a universe that glimmers with possibility. It's a hypnotic journey through sound and time that's like travelling through some electronically charged, futuristic machine. It welcomes you in the with a magically glimmering kaleidoscope of melodic, jangling colour in the form of 'Mt. Essa' before throwing you off course into a world of strange sounds and landscapes in 'Velcro to Vortex' whilst always centering itself around a pounding pulse. It takes the premise of house music and moulds it into something else: where the beat is most important, but what's going on around and above it begins to take a different shape.

When it comes to 'Wow Signal', it's all a lot more stripped back, where upon the hypnotic ticking sounds plays perfectly to the urban myth that Edwards was born in the basement of a watchmakers. It flutters into another technologically-hinged landscape of sounds that simply makes your head spin as it paints a portrait of intensely surreal images. The way that Edwards builds up his sonic textures from the sparse to the intricately dense is seen again in 'Peripheral Thermal (Left)' that amalgamates an intense selection of timbres that effortlessly merge into 'Peripheral Thermal (Right)', an experience that is pretty hallucinogenic in its execution. It really makes you feel altogether a bit dizzy and disorientated, as sonic sounds and haunting samples creep out of corners you definitely were not expecting them to.

To finish up your adventure through the sonic sound universe, Edwards once again plunges you into a pot of scientific imbalance and experimentation with Inertia. It's a track that lives up its name and keeps pushing forward into a seemingly eternal space that gently guides you towards reality once again and it becomes clear that to listen to In Hz is to explore Edwards' own mind for a brief amount of time. The way in which Edwards not only uses rhythms, but actually understands how they interlock and relate to one another is what brings this body of work together. It could have something to with his background as a drummer for the likes of Cate le Bon and H.Hawkline, or it could just be something that seems to have been written into his DNA.

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