Friends talk about nothing over the phone; a gentle guitar strum mutates into a gauzy substance; a swell of sub-bass and firework crackling ensues. Fuzzed-out scanners capture distant conversations, and otherworldly voices emerge through the noise, haunting like a recurring dream.

The experience of Twine is the static on telephone lines, the nighttime whispers, the sounds of the aether; of dizzying percussive glitch, eerie textures and vocals grated into a dense fog, a collective but coded dialogue.

Baltimore, Maryland's Greg Malcolm and San Diego, California's Chad Mossholder comprise a unique musical entity. Twine is the culmination of their extended history, which includes their acclaimed 2002 LP Recorder for France's Bip-Hop and their distinguished catalogue for Chicago's Hefty Records and Sweden's Komplott. Their sound contains a mysterious and unresolved quality, the result of the musical relationship which the group's two main practitioners share. Making music together from across the country, their collaborations are exercises in postmodern abstraction. Songs become experimentations in the virtual realm, with files bounced back and forth across time zone and singular ideas becoming collaborative.

The Twinesound is a structure meets noise vs. melody sound, always morphing into something new. Glitchy beats collapse into warm swarms of static, long atmospheric drones become abstract soundscapes where cold dark ambience and stark angular structures meet…As much a noisy, ambient experience as any heard today, from Fennesz's Endless Summer to Black Dice's Beaches and Canyons, Twine also draws influence from the free-floating, sand-blasted vocals of Cocteau Twins. This is a story of the fuzzy lines that connect and distance humanity, and the spiritual in-between that emerges in the nighttime hours.