DOUBLER “Lines of Force” (U-Udios)

On U-Udios Three, Doubler becomes sentient. Our heroes, Jason Letkiewicz and Mike Petillo, enter into their laptops and electronic gear at the atomic level, communing with the wires and nodes and chips and drives, finally ejecting a sonic blueprint called “Lines of Force” that will hopefully pave the way for scientific breakthrough. See, Doubler squirts beyond friction, beyond combustion, and shoots like a plastic capsule through some kind of futuristic pneumatic tube, generating awe and wonder and probably just a little bit of jealousy from every non-future person they happen to come across, like farmers or whalers. Or they’re what plays over the loudspeaker at spaceports – it’s all a blur right now, I don’t know.

“Lines of Force” is both twisty and smooth, a kind of playground for your kids who’ve had too much juice, or whose juice has been spiked with too much Dimetapp. It exists in dreamworlds and race tracks, on motorbikes and in isolation chambers. It’s both chill and vibrant at once, and it fills up your mind with weird visions of the future, kind of like the ones that are spilling out of my mind and into this review right now. But that’s the kind of thing you have to allow for, the unusual, unruly response to hits of adrenaline and dopamine. We like to feel good, and Doubler doubles, triples, and quadruples down on the magic goo, slime coating ears and solidifying into a characteristic assimilatable via evolution to the human condition. How’s that for future mind slop!