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As though to deliberately demarcate their torpid, supine and close to devotional recordings, Freescha named their beguiling 2002 launch, Slower Than Chapel Music. Shaped by SAN FRANCISCO BAY AREA, California, USA-based duo Nick Huntington and Michael McGroarty, Freescha’s intentionally paced digital dirges and de-tuned laments most easily recall the nostalgic electronica of Scotland’s Planks Of Canada. Including paths called after soft-bodied invertebrate (‘Mollusk’) in addition to an elegy to sacred music (‘Chapel Music’), the appositely called Slower Than Chapel Music juxtaposed retarded hip-hop beats with plaintive childlike synthesizer lines, digital whirs and fairly piano pieces to generate an recording with an identical emotive and nightmarish charge to Planks Of Canada’s Music GETS THE Right To Kids. Like Planks Of Canada, Freescha appear to (sometimes) deploy voices for his or her subliminal effect and their power of recommendation instead of their literal indicating: when voices perform appear, they’re mutated, slow and indistinct. Though Slower Than Chapel Music premiered via Norwich, England-based label Shingle Road, Huntington and McGroarty operate their very own imprint, Assault Nine, liberating music by Drexon Field and Freescha themselves, including their debut Children Fill THE GROUND.

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