What can JrF contact microphones, tape decks, a no-input mixing board, electronics, and field recordings get you? For Nicholas Maloney, it gets him some of the deepest, dankest low-end sound design imaginable. For its first half, FTES barely registers any treble – it scrapes the sonic depths at such frequencies that molecules are actually disturbed. Literal molecules! The resulting glitches in the space-time continuum are distinct enough to be perceptible, but they happen so quickly and so frequently that we can’t get a grasp on them. It’s like stills wound forward four frames, back two, forward another four or five, back three, moving the timeline, but oddly. The unnatural shifts in reality are like hiccups, but ones we can’t cure by drinking tall glasses of milk upside down-ish.