As with many LINE releases, describing the hyperminimal microsounds of Bernhard Günter’s Monochrome Rust/ Differential is difficult like telling a sketch artist about the features of a ghost’s face seen from a distance – a long time ago – while you were drunk. Extremely vague yet undeniable! Two single-piece CDs are part of Günter’s “triptychon”, with Monochrome Rust (44:30) being the third piece (following Monochrome White and Polychrome w/Neon Nails). A digital degradation of Polychrome, the track emits a continual stream of sunlit dust motes which dance for your ears… For the most it simply rustles in randomistic patterns, sounding like two or three especially tiny insects busily chewing through cellophane… or something like that. Fizzier, busier disc #2 , Differential(44:00) spews forth currents of energy-speckles which buzz into a steadily rippling particle-drone. The track was derived through a digital-differencing procedure (comparing the uncommon frequencies between each of the forementioned pieces, then again between those “differences”) so that means this is like an audio negative of a negative of a negativeá I thinká right? Regardless, crunchy microbes stir with enigmatic intentions at an intermediate intensity somewhere midway between crisp silence and sheer white noise. Monochrome Rust/ Differential is another atomized mystery. I’ve nothing but respect for the microvisions of Bernhard Günter (and like-minded explorers), yet am still plagued by a bit of bewilderment…