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Amorphic works composed from metal and wood sound sources (some
of which were objects performed by Jon Tulchin and Isaac Sterling), field
recordings, and voices.

"Eminus came out of an ongoing fascination for distant and
indecipherable sounds. This work contains 6 silent tracks out of 17,
varying from 10 seconds to 55 seconds in length. Listening to this disc
while in the "shuffle" mode on your cd player, is highly recommended
after the first initial listen, if one is so inclined." (Dale Lloyd)

"Nascent landscapes derived from filaments of clouds, vague
appearances, a deep dive into subliminal occurences..."
(Daniel Crokaert - Mystery Sea)

EAR / RATIONAL (APRIL 2004)
This disc starts with a beautiful track - it sounds like the deepest ocean
or an aurora borealis. Many tracks on here have bass notes that seem
like deep rolling thunder across a never ending plain with the ever so
slightest hints of other harmonic frequencies. Pure listening pleasure.
This is delicate music, one dog barking outside would forever change
the actual recording on the CD. Sometimes I wish I could see wind - all
you can see is its effects but you never get to actually see it by itself. But
this CD is what wind sounds like. I want to get 10 subwoofers all around
my house and attempt to destroy the foundation by playing this disc at
top volume. (Don Poe)

INCURSION issue 70 (AUGUST 2003)
Sound artist and phonographer Dale Lloyd released this recording on
his own and/OAR label last year. He's had a few releases since then, so
admittedly, I'm a little late in getting to this one. Growing out of a
fascination with distant and indecipherable sounds, the pieces collected
here carry both the stillness and broad trajectory of gazing out at the
horizon, capturing its essence and amplifying its resonance. These
compositions were created using field recordings and voices, but also
recordings of metal and wood objects performed by Jon Tulchin and
Isaac Sterling. The compositions are accompanied by six short tracks of
silence, ranging from 10 to 55 seconds and peppered throughout the
track list, meant to extend the experience of listening, "to extend the
spatial field of track occurances," or more simply, to give the listener
pause at certain moments to reflect on the sounds contained herein.
And, it should be said, this method works well. Whether listening to the
disc in continuous playback or in shuffle mode (as the notes suggest),
the overall impression is that I am listening to one long piece, with
pauses, silences, spaces in between events. When you look out on the
horizon, maybe you are greeted by the apparent silences of things,
surprised by the stillness, then you might hear something in the
distance, a ship on the sea, the waves, the wind through the branches,
low frequencies combining in subtle turns, the sounds of which funnel
through your ears and cause vibrations that you can still feel, even now,
as days, months, years, have passed since you heard those sounds,
still alive in your memory, still resounding from the distance.
(Richard di Santo)