A-side 'Lady Salata' is too slight, tapping out a jovial two note melody on little metal clangers amid shakers and a misplaced bassline – it’s too promising for its own good. A scratchy drone loop, thin claps and empty rave whistles pad out the latter half, but it’s the Latin conga line that saves this from the waste. 'Amnesia' is a tougher beast: bass and percussion down low while up top a simple analogue synth line, filled with electro menace, twists and twirls to its finale. 'Close Up' again involves a bottom-end (recalling Gabriel Ananda's 'Bassmachine') with claps that are sharp gnarled things, surroundings all bizarre and unsettling, the outcome uncertain. Finger clicks, arcade pulsars and intoned male aahs accompany a collection of scrapes and rasps that only grow louder and screechier, and the breakdown at the five-minute mark leads us into a whole new song, shuddering synth tones and grey echo ushering us out the door.
'Bar 135' fits in neatly to the Trapez policy of experiment and diversity within a micro/minimal framework and their dissonant, disorienting detours mid-song are refreshing. 3 Channels cover a fair amount of ground with these tracks, moving from textbook sequencer programming to more eccentric experiments, but as the B-side demonstrates they are most adept at producing winning music for the current market.