Schtum distills the spectrum of oscillatory rhythm, noise, and microtonality into an aesthetic lying somewhere between the organic and the machine. Processes are set in motion by the instruments, only to be stressed and superimposed, decontextualized and deformed, until – like an exhausted voice – they break. In this electroacoustic world of feedback loops, sub-bass interference and twittering noise, an outline emerges: the shape of the field upon which schtum plays. (Shape)