With the ever-expanding range of digital processing available creative electric guitarists inevitably explore the instrument's potential as a sonic generator. In the hands (and feet) of artists like Eivind Aarset or Stian Westerhus pedal boards become modular synths, combined with the midi potential of laptops to create meta-instruments in their own right. Five years ago guitarist Chris Sharkey spent two months experimenting with his ‘decades worth’ of pedals, a computer interface and a simple stereo recorder, layering improvised electronic sound into hours of music. Following months of patient listening and careful selection the 11 tracks of Presets emerged as his favourite pieces, comprising some 90 minutes of pure electronica.

This is sound to abandon yourself to, a series of abstract paintings morphing through time. You soon lose any conventional sense of representation or structure and accept the music's own aesthetic logic. Fanciful titles perhaps hint at meanings – ‘Evangelist (Salvation History)’ might evoke a chapel organ and a ghost choir at times – but on the whole they are just verbal reference points. The essence lies in texture and change through processes (whether linear or circular), elements of blend and contrast, sudden shifts or prolonged stasis. In a quiet contrast to Sharkey's often frenetic and jagged musical persona revealed in Acoustic Ladyland and Trio VD. Presets is a profound listening experience, far from ambient wallpaper, and Sharkey's compositional judgement proves extremely sound (pun intended) throughout.