Most of the stuff coming from the drive of Vancounver-born producer Kelly Claude Nairn under the umbrella of his imprint and artistic identity WZRDRY orbits around electronic dub and 'sample-a-delic' planets as well as the plenteous stream of drum-machine driven (in the 80ies) and sample-based (in the 90ies) New York hip hop artefacts as well as by the sensory stimuli coming from his parents (a new age mom and a jazz freak artist dad, according to his biography). By the way there are some awesome samples of fluffy ambient stuff, thriving in many releases he dropped through his Bandcamp. This digital release he dropped last December on Richard Chartier well-managed imprint LINE sounds like the apical rarefaction of this area of his sonic explorations, maybe influenced by the quietest aural environment of Vancouver surroundings. The meeting during his electro acoustic studies with granular synthesis forerunner Barry Truax, whose work explicitly influenced the sound of "West Coast Systems" (a dedication to Mr Truax but also to the place where these sounds were forged), the tree topped mountains and the closeness to the ocean of his nest in British Columbia as well as the placid flows of the streets of Vancouver are somehow mirrored in this entrancing flow of overstretched whispering tones, agglutinated into field recordings, vaporous aural entities and gently delayed gauzy patterns. Environment variables (to call them so) or specific spots often become the sparkle of each suite, such as a prolonged downpour on the opening "Heavy Clouds", where a wave-like game on the volume renders a sort of interpenetration between a meteorological phenomenon and the perennial movement of the sea, the almost hypnotic flow of "Elysian Chorus" or the entrancing sonic heterotopia of tracks like "Nuns Island" or "Roberts Creek".