AYN SØF (or Ein Sof), in Kabbalah, is understood as God prior to his self-manifestation in the production of any spiritual realm, likely derived from Ibn Gabirol’s term, “The Endless One”, translated as “Unending” , “(there is) no end”, or simply “infinity”.


And so is fitting that Paddy Shine, Co-Founder of prolific noise merchants GNOD should choose the name as such for his AYN SØF project.

For over 10 years Shine has been a whirlwind force of frenetic electric creativity, working within a hugely wide spectrum of sound and with a multitude of different satellite projects, it can indeed be said, like Ayn Søf, Shine is infinite, a Perpetual Motion Machine, no death, only transformation of energy, and with AYN SØF, Shine is at his most subtle, most reflective, and most tantric.


Following on from his self titled 2015 debut on Tombed Visions and last years immersive GONG GALLERY on Concréte Tapes, his debut release for GRFRQ, SODDEN CURVE, see’s Shine transcend deeper into the minimalist depths of tonality. Owing much to Eliané Radigue’s Trilogie De Morte, or La Monte Young’s early Drift Studies, SODDEN  CURVE is a one lone, tone, drone affair, a subtle movement of frequency hum, serving as an anchor to to ground one's self in single pointed concentration. STILL LIFE’s slowly morphing drones act as a time machine, or better yet, a time eraser, pulling the consciousness down deeper into the self, while SLOW DECAYS’s sparkling kosmische synth shimmer, alludes to cosmic highs of the outer body expanses.

No doubt influenced by Shine’s recent re-location to the boggy wilderness of Ireland’s countryside,

SODDEN CURVE proves as weighty, subtle and dense, with an underpinned reflective beauty, as the peat infused earthy land and open star spangled skies that now surrounds him.

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