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(real name: Maya Lin, Los Angeles) is a former electronic‑music prodigy who left the club circuit in 2018 to explore sound design for indie games. Her work is known for heavy use of granular synthesis and “audio‑data” storytelling—embedding narrative fragments in the spectral layers of a track.

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| Track # | Title | Length | Notable Elements | |---------|-------|--------|------------------| | 1 | “Gate‑Open” | 3:12 | Sampled airport gate announcements; opens with a clean sine wave that slowly distorts. | | 2 | “Raw‑Cache” | 2:45 | Granular manipulation of a public Wi‑Fi “handshake” packet. | | 3 | “Perri’s Whisper” | 4:01 | Leads with a vintage “PIPER” synth, overlaid with a faint spoken‑word chant (in Mandarin) about “hidden rivers”. | | 4 | “Data‑Dust” | 1:58 | 8‑bit arpeggios colliding with static noise, representing corrupted data. | | 5 | “Mid‑Shift” | 2:30 | Field recordings from a night‑shift factory, pitched down to sub‑bass. | | 6 | “Taboo‑Bloom” | 5:10 | The longest track; layers a choir of processed whispers that gradually resolve into a bright major chord—symbolizing the “purification” of taboo data. | | 7 | “Fall‑Down (Reprise)” | 2:12 | Re‑imagined version of the visualizer’s main theme, with heavy glitch‑stutter. | | 8 | “Exit‑Node” | 3:05 | Concludes with a fading ping‑tone that mimics the termination of a network connection. | | | 2 | “Raw‑Cache” | 2:45 |