As if to deliberately demarcate their torpid, supine and near devotional recordings, Freescha named their beguiling 2002 release, Slower Than Church Music. Formed by San Francisco, California, USA-based duo Nick Huntington and Michael McGroarty, Freescha’s deliberately paced electronic dirges and de-tuned laments most readily recall the nostalgic electronica of Scotland’s Boards Of Canada. Including tracks named after soft-bodied invertebrate (‘Mollusk’) as well as an elegy to sacred music (‘Church Music’), the appositely named Slower Than Church Music juxtaposed retarded hip-hop beats with plaintive childlike synthesizer lines, electronic whirs and pretty piano pieces to create an album with a similar emotive and nightmarish charge to Boards Of Canada’s Music Has The Right To Children. Like Boards Of Canada, Freescha seem to (occasionally) deploy voices for their subliminal impact and their power of suggestion rather than their literal meaning: when voices do appear, they are mutated, sluggish and indistinct. Though Slower Than Church Music was released via Norwich, England-based label Shingle Street, Huntington and McGroarty run their own imprint, Attack Nine, releasing music by Drexon Field and Freescha themselves, including their debut Kids Fill The Floor.