2-FDCK Angel (2022, formerly "Torn From Static")

2-FDCK Angel was the second music project I ever made. I recorded it in 2022, when I was 16.

Back then, it wasn’t made with listeners in mind. I made it for myself, and for a long time it just stayed as a tape project. In 2025 I came across it again and decided to release it anyway, because New Authorities and 2-FDCK Angel feel like crucial early pieces of the wider DSC_0001 project — basically the beginning of everything.

At the time it was called Torn From Static and it didn’t have cover art. For the digital release, I wanted to refresh it with a new title and a new cover. I still use Torn From Static as a track title on this release, but I no longer wanted it to be the main project name.

Even though it follows New Authorities, the sound is different. It’s still lo-fi and tape-based, but less dry and mechanical. This one feels more organic, round, and dreamlike. I still see the two releases as a diptych, so the cover is intentionally clean and minimal in the same visual style — no story attached, just something that feels right and looks sharp next to the other one.

Everything was recorded straight to cassette, so there are no original digital masters — only the tape rip. For the digital version, I kept the approach the same as with New Authorities: only practical changes like leveling (and possibly track order) to make it play consistently as a release. The recordings themselves are left untouched. No cleanup, no polishing. The tape noise and imperfections are part of what it is.

The core tracks for me are “2-FDCK Angel,” “B-frame,” and “Torn from static – Part 3.” They’re built from acoustic and electric guitar with heavy reverb, slowly dissolving into tape hiss. The process is a mix of overdubbing and one-take recordings — similar in spirit to New Authorities, but with a different mood and shape. This release uses guitar and synth, without samplers.

I also don’t really think of it as being inspired by other music. If anything, listening tends to push me away from copying what I hear. This was just me experimenting and developing my own ideas, which is basically how I’ve always worked with DSC_0001.

Looking back, the fact that only a tape rip exists wasn’t planned — I didn’t expect to ever release it. But I don’t mind it. The rip is different from what a clean digital master would have been, but it has its own character, and I like what it does to the music.