There’s scarcely any information out there about Perth’s Dylan Michell. And given that he’s described as “mysterious” on his label’s website, it’ll probably stay that way. The three pieces here arrive and depart with the brevity of apparitions, each one containing a slew of conflicting textures and references. The odds and ends combine with an uncanny harmony, as if these polar opposites were aligned in some forgotten moment in time.

Take the title track for instance, where intermittent blues guitar collides with dark vapour trails of organ drone and splintered percussive textures. It’s a haunting modern blues, evoking sad back alleys in stale commuter belt suburbs. Wooshie’s productions often sound like they’re parts of greater wholes; locked groove sound bites dissected and re-contextualised.

While intoxicating for the six minutes it lasts, this debut is an infuriatingly brief missive. You want these miniature tracks to persevere and evolve but Michell opts instead to demonstrate as many variations of his austere composition as will fit. Perhaps that’s the desired effect though. Like déjà vu, these moments pass too quickly to be adequately understood.

by Shaun Prescott