New York-based percussionist and sound artist Lesley Mok describes her music as “a passage through affective zones.” A phrase that carries a cinematic charge, the soundworld she’s created is not unlike the Zone in Andrei Tarkovsky’s 1979 film Stalker: oppressive, mysterious, and existing outside the confines of conventional spatio-temporality. Navigating the friction between digital electronics and analogue percussion, while drawing on her jazz and free-improvisation background, each track plays like a scene from a film unfurling in darkness. berserk opens with a rain of metallic chimes, its rhythm unstable, seemingly sentient. midland unsettles further: an industrial hum yields to irradiated clicks, conjuring a landscape both dangerous and alluring.