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As opposed to the conventional structuring of musical events, Herbert Distel's constructivist methods of organization reject juxtaposition and development in favor of an idiosyncratic system of layering and looping, so that his editing and manipulations do not intensify the awareness of time passing, but remove time from the experience. The importance of rhythm, the means of measuring time as it moves through a predetermined space, is replaced by sound-color: a complex program of textures, densities, shades and micro-shades, and audible events are sustained like scenery passing before our eyes – although the scenery may be shrouded in fog, an ambience of persistent mystery, or even a dreamlike obscurity, all on a route of Distel’s choosing. Yet, simultaneously, the listener assumes responsibility for the specifics, if not the nature, of the experience. By entering into his soundscape we encounter a zone of energy, activity, and tension; a hyper-state of mind where representations of Nature and Industry collide, where perception and memory resonate in the echoes of fading and remembered events, where close attention organizes self-referential designs in the restless, ritualistic flow of sound. This is a Travelogue into uncharted territory, but one that can only take you where you want to go. – Art Lange