This is a rather descriptive title of the compositional process rather than the resulting sound. Mike Barber recorded a hand saw cutting wood as well as his own snoring. From these sources, he looped, layered, and manipulated the recordings into three 20-minute pieces. The outcome is a distorted ambient environment that could serve as a soundtrack for a horror or science fiction movie.
Duet for Saw and Deviated Septum No.1 builds up slowly with sounds that resemble a machine or factory operating in the background. Shaped white noise and crackling elements drift in and out of the foreground along with prickly scrapings. Duet for Saw and Deviated Septum No.2 provides overlapping waves of muted grinding and distortion, with foreground aspects moving between speaker channels. This mix boils and folds upon itself for some time before featuring more immediate and indeterminate distortion processing. Duet for Saw and Deviated Septum No.3 is perhaps the most interesting piece, with undulating surges and gentler portions that juxtapose higher frequencies with the low-end rumblings.
The extent to which the overall sound of this recording departs from its source material is quite remarkable. While there are a few points where the listener can identify sawing and snoring, without the liner notes indicating such it would be been nearly impossible to discern. None of these recordings are overpowering – instead, in true ambient form, their influence is on both the subconscious and the conscious.