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The music, like the titles of Fluorescent Grey, imparts an impossible reconciliation. The "Nearly Remote," a "Muted Chromesthesia," the pulse of a "Still Current" or the dying light of "Dull Flares." These contradictions reconcile opposites to reveal an uncommon ground of perpetual but shifting stability. Sources linger in the background, emerge and then dissolve into a continuously growing soundstage. Calm embraces agitation, which in turn invites noise. Distortion manipulates the purity of sampled harmonics. Melody appears and struggles to apply the most cursory analgesic. This is a music fused from differing digital and sampled sources into a resonant beauty. A beauty-not mere prettiness-that unfolds slowly to reveal deep timbres actively defining their own space and time.On their two previous releases, Three Point Circle's compositional process willfully blurred individual identities in favor of a collective compositional technique. With Fluorescent Grey K. Leimer, Steve Peters and Marc Barreca established a genuinely distinct ensemble voice. Beginning with the most basic structural constraints, the material generated by an individual member is subjected to whatever degree of annihilation the other members deem appropriate; each successive iteration is then recirculated and further obliterated until consensus is reached. By then, the original gesture is radically altered or almost completely erased, making it nearly impossible to determine who originated what in a given piece. The sublimation of individual egos results in the unpredictably coherent identity of Fluorescent Grey.