The acoustic material was recorded primarily during the destruction and disintegration of things, and during the straining and compression of materials.A microscopic audio journey through various destructions discovers new worlds created from the dust of old ones… The studio recordings were later carefully sorted and rearranged. Time.break is not an objective recording of all manner of destruction; it is an auditory representation of stress, culmination, rupturing, and release. During the first stage, the fractures can be clearly felt, with much space between each other. Over time, the concept of destruction begins to creep into the very nature of the composition, which begins to be dominated by electronic sounds as the density of collisions increases and their micro-particles begin to form a broken rhythm that briefly leads the listener before suddenly unsettling him. 

“Essentially, what I am interested in is solidity, resilience, and endurance – by understanding and encompassing processes of destruction and disintegration – like Phoenix.”