*2023 stock* Other Days represents Nate Young's most labyrinthine incursion into the nether zone between waking life and nightmarish, cryptographic noise. The recordings stem from an exhibition of lathe-cut etchings and paintings by Young and his wife, Alivia Zivich, installed at Tokyo's Haus Gallery. The process involved designing original images for 22 8" x 8" pieces of acrylic, which in turn inspired 22 audio compositions which were then lathe-cut into the acrylic. The process of lathe-cutting transformed the audio itself, and vice-versa with the original images, resulting in a constant mutation between sound and image with no end in sight. The process ended abruptly, with Young and Zivich surrendering to rest or sleep.

In key with the rest of the series, Regression Vol. 3 (Other Days) irreversibly ruptures or at least corrupts the liminal boundaries of its infected victims with Lynch-ian aptitude. Dragged down to Young's beta pitch we become petrified, sleep-paralyzed witnesses to possessed hallucinations. His drums and tape-stretched drones land in time-dilating polymetric patterns, again uncannily recalling the timbre of vintage Photek drums -- struck objects, metallic gongs and loose-skinned bass -- only strung-out like the sounds of morphine-dosed poltergeist and caterwauling harpies. We could say the secret lies in his sense of deferred anticipation, but then it wouldn't be a secret, yet there's something so ill and unquantifiable about his sense of timing that's just dangerously affective.