Poota is a collaborative project between Andrew Kettle (aka KETTLE) and Loyd Barrett (aka Brainlego) that has been operating from some 4 years with no official releases until now. With this release it is the amalgam of what the artist's felt was the best material derived from 1998 recordings (studio and live) and by the artists' own admission showcases "skill and spontaneity; innocence and experience". The first thing that is evident is the cut up, glitched framework of both of their individual projects have been somewhat amassed together with these recordings creating broad collages of intertwined malfunctioning electro static, rhythms and samples. Track one of the five pieces appears to work on two levels - one presenting a broad deep undercurrent, the other as mid ranged scattered rhythmic elements to generate a mostly soothing sound presentation. This frameworks is again utilised on the second track, yet as many more sonic layers are drawn upon (mainly at the high end spectrum) create an overall more chaotic offering. Likewise with focus on a high end blip tune, it evokes are galactic spatial aura that later transforms into stunning solidly focused deep rhythm (that might just be comparable to segments of Atomine Elektrine's 'Archimetrical Universe' CD). Track three chooses a drawn out playful style to its odd manipulations of a quite crunchy centrally focused mid paced beat. Pure sonic experimentation is abound on the forth piece, gradually shifting sounds, static and (tune/ beat/ voice) samples to generate a loose focus to the occasionally fierce & quick paced sonics. The fifth and final track is simply stunning due to the use of a sampled segment of Indian tabula drum percussion to create a brooding atmosphere. With this central sample offset against a subdued tune and understated electronic treatments, it presents an excellent blend of traditional and modern sounds. Despite the artists' acknowledging that this release offers more of a "historical fragment . than a new work of evolution in music" it is still a fine example of the creatively of the underground music experimentation scene in Australia.
Richard Stevenson, Spectrum Magazine.

Packaged in-between two tin plates, the concept of this CD revolves around the aural interpretation of medical condition suffered in the right eye of the artist (ie: closing the good left eye to perceived the world through the sight of the deteriorating right eye). With three tracks just short of 20 minutes, the compositions blend one into the next as fractural sonics of clinical static and electronic induced noises and drones. Mostly in the mid ranged tonal velocity, things are rough around the edges, but the sounds never reach high end pain inducing pitch. Sections of sounds and noise align themselves and bridge one to the next, holding an aesthetic of new sound art/ minimalist noise experimentation with a convincing dark and slightly menacing edge. I guess this material has a comparison that could definitely be made to the new direction of Hazard which only further highlights the quality of this. The format of the label releasing 3" CDR is also a way to present short snippets of the works Australian sound artists in intriguing packaging.