What we wrote at the time:

Loren Chasse seems to inhabit a post-midnight city of out of time and long forgotten practices: a kind of brooding alchemy in which stone and metal, glass, sand and shortwave radio, rust, wind and water are combined in dense cinematic close ups and narcoleptic trances. His work with Keith Evans is particularly inspired, seething over Keith’s organic liquid imaginary. Keith creates what I guess you could call extra-cinematic experiences that hone in on and let slip all kinds of filmic phenomenon and secrets. For this collaboration he sets up a system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses slow, molten and incredibly tactile flickers of colour and light. It’s a slowly evolving, minimal, yet brooding performance, in which (like the work of minimalist doyen Eliane Radigue), change sweeps past at dramatically glacial pace, only becoming apparent after the fact.