Cassette and digital release on 5/19/17.

C66 – pink tape with black imprints. Pro-dubbed chrome plus cassette. 2-sided 3-panel J-Card with album artwork by Sug & Max.

Mike Sugarman creates extreme sound works under the name Sug. His output fuses the detail-rich tones and code-based structures of computer music with hands-on-hardware reactive synthesis. God’s Clit Vol. 2: TIME vs. FLESH follows up the diverse compositions of 2014’s Pure Racket under his former moniker Sugarm, showcasing a series of fresh experiments in dense programming and electronic arrangement. Characterized by bursts of digital texture and pummeling percussion patterns as much as shimmering swathes of drone and bright synth melodies, Sug’s music veers between clipped abrasion and austere beauty, often within the context of a single piece. God’s Clit Vol. 2 winds its way through a program of sound fields populated with waves of fine-grain static and samples of spoken word detailing arcane histories of fractal geometry, YouTube vlog detritus, and pseudo-religious self help cultism. Sugarman dials in cascades of dizzying piano that evoke Conlon Nancarrow, and barrels into heavy technoid breakdowns akin to Esplendor Geometrico. His tracks burble in a state of queasy anticipation that toys with the notion of stasis and the preconceived role of sound as entertainment. Instances of willful irritation and confusion finds their counterpoint in Sug’s moments of algorithmic synth meditation in the school of Laurie Spiegel, percolating with lush chordal pads and chiming, mallet-like lead melodies. The sum total of Sug’s music is capable of bending time in either direction: a crawl through molasses, or a dilated hour that passes in the blink of an eye.