Debut release from Seattle's William Collin Snavely. The music of DOSC features ear-catching, otherworldly timbres and skittering, erratic lines of tactile, textured beats ("it's a very percussive album") set against backdrops of three- and four-note motifs fashioned from tone colors as vivid as any hues found in Georgia O'Keefe's painting, stretched into hypnotic vapor trails. The vivid imagery that seems to imbue each of the thirteen tracks is just as essential to the DOSC aesthetic as the specific sounds that suggest the pictures.

"They develop in parallel," says Snavely. "I'll be writing a track, and as I'm writing, I'll think of the exact movement an individual or subject might be making, or how the scene should look."

While many composers of instrumental electronic music baldly deny any intentional emotional or programmatic content in their work, Snavely insists the hour-long Status Negatives was crafted with both a narrative and vivid feelings in mind. "Picture some guy working on a factory assembly line, non-stop, doing the same task redundantly, over and over again," he says, setting the scene. "The story starts from there." After years of neglecting his or her dreams, the hero starts "realizing they can accomplish what they originally planned on doing," and in fact, he or she "isn't capable of dying until he or she accomplishes what they originally set out to do."

"It goes through every single emotion," he observes, "but it's definitely a hopeful album."