As the title suggests, this is a stripped-bare document recorded directly to minidisc of concerts by Peter Wright in Merry England (the 12 Bar Club in London) and Bonnie Scotland (Aberdeen’s “The Tunnels”) in March 2005. “Audience noise courtesy of the audience”, adds Wright on the sleeve. The music is generated by guitar, various effects and pre-recorded sources (birds, children’s voices..), filtered and phased intensively and intensely in two extended tracks slowly crafted into huge consonant buzzing drones. Over this bed, the London-based New Zealander lays a few selected notes to enhance the half-bucolic, half-industrial vibe, leading the music, in the case of the Aberdeen track, to a sheer paroxysmal consecration of the drifting “mother chord”. Probably due to the low-budget live feel, this is a slightly different Wright (compared to his most mesmerizing releases): the sound is rawer, at times more distorted, less “suspended” and more “affirmative”. But it works fine nonetheless, as the enthusiasm of the crowd clearly demonstrates. Repeated plays at medium volume will help your listening space resonate and erase odd technical flaws and the above mentioned audience noise (with a title like that, don’t say you haven’t been warned).