British sound artist Gilmore can�t boast of the same discographical prowess exhibited by many of his Cut colleagues, but his sterling debut for Jason Kahn�s label banks some good coin for the future. Comprised of five improvisations for solo computer, immersion into On Quasi-Convergence suggests Gilmore has taken to heart valuable lessons learned during his brief tenures at F�llt, 12k and Entr�acte. Not just some randy act of software peddling, this record feels more like a statement of intent, a forensic probing into the very innards of silica incognita.

Shifts in climate occur all over the metallic terrain Gilmore maps out. The opening piece, �X-Null,� threatens to go nearly Jazzkammer on the spartan matrix, yet as suddenly recombines its prickly nettle static contours into less confrontational shapes, eventually softening the brittle edges in a volley of sparse digital trills and vibrating digital harmoniums. �Shunya� explores the kinds of barren, mouse-generated Tronscapes so beloved by the F�llt contingent: gently positioned blips and morse code sprites intersecting rising humid thermals of grey feedback. Gilmore demonstrates something of a flirtation for the pockmarked soundworlds of Morton Subotnick on the brief third piece, the sequel to which features respirating loops of what might be smeared bell defrosts that recall Taylor Deupree and Tetsu Inoue�s less abrasive moments, a generally lilting exercise that has a strangely becalming quality. Gilmore keeps the scarier superconductor monsters at bay during the closing �U+221E�, content with looping a series of muted faux chimes that ultimately assume quite a powerful sonic architecture. Much of today�s hardcore �computer music� tends to self-destruct in a corrosive display of plug-in virtuosity and ideated bankruptcy�credit to Gilmore for infusing no small measure of compositional mien throughout this engaging work.