this album by richard devine fits within the idm boundaries defined by autechre and early aphex twin. it emphasizes sound manipulation and layered intricate textures that would perfectly fit the popular definition of "experimental" music. it is too tempting to describe "lipswitch" referencing autechre, since similarities and differences are so obvious; it appears to me that richard devine took autechre as an example and basically "fixed" its sound to be a little more acceptable, adding his own personal touch along the way.
"lipswitch" seems to be offering a helping hand just at the time where autechre would become too unintelligible, overloading your mind with overly complex sound structure. this helping hand comes in a form of constant minimal percussion that you could fall back upon, or deep clean string on the background. this island of familiarity and simplicity among layers and layers of broken, spinning, cut-up noises really makes this album a pleasant listen, since you can enjoy it on many levels, as opposed to constant close attention required by autechre.
I was surprised that for the most part music never became too mechanized, despite all fuzzy swirling noises, haywire of sonic splinters, pileups of stuttering, broken beats. maybe it was the random nature of those sounds, maybe it was a combination of edgy percussion backing up this chaos, but almost every track had a very deep layered sound, balancing scratchy broken noises and heavier percussion elements. this very balance is what brought up some similarity to earlier quench of funckarama.
just like with autechre, you get your brain cells dancing trying to follow all intricacies of sound, but every once in a while when you attention drifts off, you find comforting support among distant strings and hollow percussion (the combination that made "kepter" my favorite track on the album).