The former Hype Williams member visits the border of music and sound.
Should we view Who is experimental music? as a Dadaist integration of what, exactly, constitutes experimental music? Three tracks in the middle, each lasting less than a few minutes and possibly based on the same sample, do exactly as they say—"Skipping," "Glitching" and "Strobing." There's very little here, but they aren't without discernible qualities. "Glitching" has a curiously infectious bounce, and "Strobing" sounds like Squarepusher reduced to an essence. "Good or bad," a chaotic beat track that sounds like it was recorded in a cupboard, could simply be asking us if we feel anything, a key question when we reach the border between music and sound.
Or are we being trolled? Astrova, like her former collaborator Blunt, has always seemed less of a theorist or critic and more of an iconoclast or contrarian. The ground beneath your feet, like the beat on the opening track, "Let go" (the only one where we hear her voice), always feels unstable. There's nothing here that comes close to the substantiality of The Smoke, a kind of deeply warped pop record she released last year. But perhaps the point is, simply, that we're here considering these questions.