Having previously recorded a slew of obscure CDs and net-releases as The Domestic Front, author and sound artist Bailey steps out from behind the defensive anonymity of musical project names to deliver his first recording under his own name. The stated objective of TDF's electronic mirages and sonic overload sessions, over their brief and clandestine 8-year existence in Japan, Chicago and the Czech Republic, was to encourage voluntary dislocation and alienation as a means towards 'perpetual becoming.' In other words, it was recorded music as a sort of psychic anti-coagulant, and with a constructive goal often misconstrued as nihilism merely because of it's deep unpopularity within the larger, more facile sphere of consumer culture. TDF's recordings, which never settled on a single musical mode and relied heavily on collage and sharp contrast between opposing extremes, also aimed at making an audio metaphor for the richness and beauty to be found in a world without man as it's sovereign center / 'crown of creation'. Likewise, the project's uglier moments provided hyperbolic audio representations of the insane ideal of 'progress at any cost,' making a mockery of techno-philia with bracing, digitized chaos and unyielding drone passages that seethed with a sick phosphorescent glow. This new 'solo' CD takes that basic template and improves upon it with more attention to detail, and a more mature attempt at letting ideas run to their proper conclusion, than has been previously employed by the artist. 'Strangelet' is a kind of "anti-concept" album, as the cryptic, seemingly unrelated track titles attest to (a quote from Bruce Sterling here, one from E.M. Cioran there, allusions to failed revolutions and declining empires everywhere.) The album's title itself refers to a phenomenon in the world of particle physics: a strangelet being a hypothetical object which converts ordinary matter into 'strange matter' through liberating the energy of nuclei that it comes into collision with. While the artist is clearly uneducated in this field of learning, the pseudo-scientific misuse of the term 'strangelet' to mean a kind of infectious 'weirdener,' invisible to the naked eye, was irresistible as a descriptive term for this kind of music. Bailey does indeed wear his obscurity and musical abnormality like a badge of honor, and while the music on this release may not have the power to swallow up and invert physical reality, it certainly tries to create the illusion of doing so. If nothing else, the single-minded cascades of noise and tantalizing, broken fragments of vaguely familiar sound serve to filter out casual listeners (those who would use recorded music only as an adjunct to their ambitious social lives) and to reward those who take purposeless play seriously.