This marks the last release in the three-part edition of the Radius project, quite possibly our favorite in the series. The final installment features 3 tracks flirting with the deepest spectrum of dubbed out analog bliss, enchanting, hypnotizing but moving all at the same time. Restored and redesigned from analog cassette tapes with recordings conducted from 1994-2001 recorded exclusively with analog/digital hardware. The original source tapes had aged, warped and degraded and as a result we've preserved the best segments, sampled and reprocessed them into an entirely new sonic spectrum. Regardless of the time passed, there's so much depth and organic movement, it nearly breathes in slow motion. When considering the limitations of hardware in the era these were recorded, they've truly aged like a fine wine. The deepest productions in the sonic world of Radius. Our best advice while exploring - prepare the flotation tank!

Thoughts:

The mystery of light and darkness.

The recently released album "Obsolete Machines" showed us the first installment of recordings, which Stephen Hitchell created under the name Radius between 1996 and 2001. Now the time has come for the next archives. This time they consist of three albums labeled "Intepolation Tapes". Hitchell has devoted almost the entire year to recover from old tapes once recorded songs. He used the old samplers, thanks to which the recordings kept their analog aspect.

The first CD from the series contains four long songs. First, we get a composition slowly developing from reduced ambient to dub-techno with hooting synthesizers in the main role ("Interpolation 1"). Then the music becomes as if played back in slow motion, resulting in a tarry dub, filled with tectonic convulsions ("Interpolation 2"). The center of the disc is the most raw and thrifty piece, booming with the massive techno rhythm ("Interpolation 3"). The set is crowned with an underwater version of such a play, focused on overflowing waves of oneiric synthesizers ("Interpolation 4").

The second album in the series has a strongly meditative character. "Interpolation 6" presents an extensive arrangement, leading from a damp ambient to a buffed dub-techno. In "Interpolation 7" and "Interpolation 9", the American producer surprises with cloudy and dense drones, rarely seen in his work, reminiscent of the dark ambient under the sign of Lustmord. "Interpolation 8" is a classic dub-techno with rough sound. In "Interpolation 10" we get a swinging lullaby carried with vibrating chords, and in "Interpolation 11" - a residual ambient in a soft noise version.

The third album from the collection is already fully sound metaphysics. "Interpolation 13" is particularly impressive - one of Hitchel's most beautiful and mystical compositions. There is not much in it, but the coil of bass streaks and corroded waves immersed in loud noise creates a deeply moving mystery of light and darkness. "Interpolation 14" is a new version of the previous song, enriched with vibrating electronics and rhythmic pulse. Calming and soothing after these deep emotions brings a bright and warm final piece - "Interpolation 15".

It is a great joy for all fans of Echospace and DeepChord that Stephen Hitchell returned to his old registrations and brought them back to life. It's mainly a few hours of great music from the border of dub, techno and ambient, but also extremely important (and so far hidden) fragment of the history of new electronics. Thanks to these publications, we know that the Chicago producer created a very beautiful and moving version of the Basic Channel canon at exactly the same time as the Fluxion, Porter Ricks and Hallucinator releases, published by Chain Reaction, were released.
-Nowamuzyka Magazine