For the vast majority of the recorded output under his Plankton Wat pseudonym across well over two decades, Dewey Mahood has operated as a solitary sculptor. Yet, in more recent years, guest accomplices have been drafted-in to subtly contribute sonic parts or to help technically refine the end products, most notably on 2021’s tremendous wider-screen Future Times and 2024’s mesmerically minimised Corridors.
With The Vanishing World, Mahood goes a far fuller hog, in reconfiguring the project as a pan-dimensional quartet, drawing from the energy of largely undocumented Plankton Wat live line-ups; his past ensemble work with Eternal Tapestry, Galaxy Research and others; and embracing a more kaleidoscopic studio-enabled scope.