Only this year did Jim Jarmusch, a man who has been entranced and entangled with the "purest, most beautiful form of human expression" music for the past 40 years, release his first album. Together with Jozef Van Wissem, they put out a minimalist record entitled Concerning the Entrance into Eternity. SQÜRL are a little different. Though originally under the name Dead Rabbits, Carter Logan, Shane Stoneback and Jarmusch have been getting together irregularly over the past four years, holing up and writing music in Stoneback's New York digs. Whilst this was originally for the purpose of soundtracking Jarmusch's 2009 film, The Limits of Control, the fruits of their labour weren't to be lost to the cutting room floor and the three recently emerged with "enough recorded for a few albums." I've only just watched Stranger Than Paradise again, thus so see no need for structure.

EP#1 culminates with lamenting Jim's aforementioned musical aficionado Jozef Van Wissem. Its rhythmic warbles of feedback slowly insist, independently climaxing into grit at their own rate. This deceitful warmth doesn't feel like fully-vented anger but more a bubbling frustration; as they arrive guitar by guitar, they're almost reinterpretations but yet never seem to truly acknowledge one another. In some respects this is idiomatic to Jean Baudrillard's concept of Simulacra and Simulation; a recurring theme on this release.

"You speak into this, that machine there. Take this and it puts it on this thing and then you take that and you play that and it says what you said here." 'Pink Dust' revolves cyclically around samples of a French female explaining how to use a cassette player in a rather oblong manner. The piece is anchored by brooding, hypnotic drums which interact with two separate guitars. But for the recurring major melody which is plucked out triumphantly amongst drones of open strings, they only cross-paths with drop outs and spikes of rhythm, these moments, strong enough to wrestle a boar. There's something vaguely reminiscent of Frog Eyes in there.

The two tracks 'Dead Naked Hippies' and 'Little Sister' represent the middle section to this four-track release, together creating a myriad of both similarity and juxtapositions. Turns of nicely-out-of-tune dirge guitars pit themselves against aggressive, poised drums and a colloquially spoken baritone. 'Dead Naked Hippies' has a cynical, near-groove which becomes a Billy Cobham-type groove as the tempo accelerates after the line "I saw dead hippies in a nightmare." This aspect of freeform only really occurs in improvised pieces. 'Little Sister' handles something wholly different; an abandoning of dissonance and falling on near-twelve-bar blues familiarity of Presley. It's almost lustful.

SQÜRL have their own brand of progressive, crawling evolution of texture. It poses a similar axiom to the spirit of Jim Jarmusch's work; who are we to define and intellectualise an 'event'? Through this mantra, honesty and subtlety benefits this three-pieces debut release. Songs like 'Some Feedback for Josef Van Wissem' and 'Dead Naked Hippies' are led by loose trails of thought and motif, which creates a borderline abstract, onionskin effect.