For the most part, the end product justifies the aesthetic stretch. The title implies a certain level of improvisation, and the album delivers: it sounds like 40 minutes of a man struggling to control his hardware, fighting to mould it into shapes that are vaguely musical. Sometimes he succeeds, sometimes he doesn't; on "Mangler Fish" it sounds like he can barely keep the note sequences straight, and on "Clodsteps" the clanking "beats" sound random and haphazard. The moments where he regains his footholds are the most accessible; on "Soviet Drum Brain Attack," the hums of malformed and arcane machinery provide a bed for a single repeating note that decays and regenerates in a manner that almost forms a melody. This manufactured naturalism is the crux that holds the album together and also separates Intrusive from more accessible Ekoplekz works like Mordant's "Fountain Square."
Distortion is the other major theme of Intrusive Incidentalz, a hissy fog that obscures textures. Where so many artists rely on slightly morphing textural maps to make their drones exciting, Edwards is hands-on, riding his synths hard until their shrieks turn into screeching sandstorms ("Devil Mixture") or their forced rhythms let out uncontrollable gasps of grizzled sound ("Terror Danger"). It's distinctly lo-fi and even rudimentary, an album that feels defiantly monaural and scorns details or layering, at least until its closer rolls around. "Maelstrom" sends out rattling feelers like anticipatory hi-hats, gurgling bass notes like arpeggios, and harsh feedback as melodic devices; it's Edwards' own interpretation of the kind of "bass music" that might end up on Punch Drunk, and it's just as exciting as the next salvo from Kahn or Pinch. Maybe it's not such a stretch after all.