Written and recorded in Whitby, York and Rotherham (UK) during summer 2010 by Mark Fell (one-half of the duo snd). Mastered at Dubpates and Mastering Berlin in 2010 by Lupo. Part 1: The Occultation of 3C 273. Using 32 operator frequency modulation synthesis configured in 16 pairs of operator and modulator. Frequency, modulation ratio and amount determined by linear interpolation between two spatial extremes, with further interpolation over variable temporal divisions. Panned at equal positions around the circumference of a circle using high order ambisonics. First implemented for the DVD Attack On Silence (Line Records 2008) and developed for the cassette release Thunder Bollocks with Evol (Alku 2009). The compositions here also feature modified Roland TR707 and Linn kick drum samples. Part 2: Vortex Studies with 2, 4 or 8 channel rectangular waveforms with variable pulse width subject to frequency modulation from synchronized sine functions with variable phase offsets. Initially implemented with synchronized blue light at Algorithm, Glade (Thatcham 2008) with further presentations at Enjoy (Leeds 2008), Centre d'Art Santa Mònica, Sónar (Barcelona 2008), Three Pieces For Unattended, Somewhat Attended and Attended Computer (Sheffield 2008), Avoid (Leeds 2009), Three Neurocognitive Approaches To The Formation Of Cross-Modal Objecthood (Rotherham 2009) Sonic Materialities (Sheffield 2010) and as Supersymmetry at Matter-Space-Motion (Elsecar 2010). Here with percussion synthesis. "This project takes its name from the Celestion UL8 speaker. My older brother bought a pair of these when I was starting comprehensive school, and between his 10cc and Supertramp records, I first encountered very loud electronically-synthesized sound. I soon noticed a pattern emerging in my musical tastes which excluded guitars or drums. Instead, I favored almost exclusively the electronic textures and rhythms of The Human League, Fad Gadget and other synthesizer-based music of that period. I was quite curious about this prejudice and would try to work out why Kraftwerk sounded so much better than a rock band of the time. Since then, my interest was in the texture of synthetic sound -- there was something much more beautiful (and perhaps more emotionally-charged) about a sustained square wave than any guitar solo. Soon, I began to search out and replay sections of music which dropped to a single sound -- these, for some reason, were the best." --Mark Fell