Up to that release Sebo de Tripa from Latvia was a completely unknown project for me, despite I was always interested in Latvian electronic music and specifically, the noise scene. I was re-listened those tracks many times, and each time after 5 minutes of the "Scam Consumption" I've thought: why does it appear so annoying? Seriously, I'm pleased to go deeply into the wild brushwood of noise jungles, being scolded through the electrical and statistical micro-spaces, but listening to the infinite and monotonous noise of radio receivers to me seems extremely boring. May be the real music hides here on the second or even third floor? In common, mysterious dark-ambient passages appearing from anywhere and disappearing nowhere always attract my ears. But if you remove the radio noise, you would get a completely another view of sound. I would expect, that the author who created this Radio Inferno, turned on all possible noise and hiss devices only in order to cause an allergy and irritation of all internal receptors of his listeners - you will not name it otherwise than as an intellectual sonic terrorism. But we have the same in result. Process for process. But this is already a very narrow region, interesting only for those lone creators and their friends. Nearer toward the end of the first track it is clear, that the process for the result is real music, at least, there is more sense in it. Noise is the top of the evolution of music, but not the monotonous noise, - the structured and controlled noise, or noise as the game for the listeners, where each listener could be not just an observer, but a full-fledged participant in the entire measure. And this is completely possible to make. It will sound strange, but I would like to mention one track, Aphex Twin's strange 10th track from the second CD of "Selected Ambient Works Volume II", this track consists of generated noise and analog keys. It lasts 7 minutes 30 seconds. If we loop this track, we could listen to it infinitely. And here it is not important, how we made one track or another, it is important, how it influences those who will listen to this record. However, dealing with the sound effects technician-jokers, each time I only astonish their resourcefulness in use and application of unmusical components in their creativeness, some of them can even gather sonic bomb from nothing.