"So far, I had Input Error down as a harsh noise label, but this one proves me wrong. Of course, there was a time when Jerman dabbled in harsh(er) noise when he was working as Hands To. At the turn of the century, his sound went quieter and open and relied more and more on untreated field recordings and objects. For some of his releases, I thought Jerman sat down in the sand, rubbing leaves and sticks and used some additional field recording on a small playback system. I won't speculate how the music on 'Flapnr' was recorded, but I think there is some studio technology at work here. There is complexity at work here, so I at least believe there is a culmination of various recordings. I still have that notion of Jerman sitting in the grass but now takes his recordings to the computer and combines them with different field recordings and even some good ol' tape-loops. In that respect, this is partly how Hands To back then sounded, but now not so much the sonic overload, the additional distortion of using a battery-powered Walkman. This makes the music here way more detailed than in the old days. The music sounds both old and new. Many sound sources are being used here, some highly obscured and others recognizable, such as breaking glass in 'Nothing'. I assume these sources are natural (leaves, trees) and human (glass, debris, waste, object), along with the humming of machines, shafts and the wind over barren Arizona land. Maybe at times, Jerman has no hands-on approach, and it's just the wind playing all of this. I found all of this highly fascinating music; a cruder little brother musique concrète or electro-acoustic music. Perhaps you could see this as the natural evolution of 'industrial music', now without any instruments and still noisy as hell. This is the noise that I like!"-Frans de Waard, Vital Weekly