TERRE THAEMLITZ' electroacoustique release 'INTERSTICES' (meaning, 'small spaces or cracks between objects') ostensibly presents itself as an album about process. In particular, THAEMLITZ accompanying text discusses two processes called FRAMING and SYSTOLIC COMPOSITION. However, THAEMLITZ attempts to complicate the formalist trappings of an 'album about process' which plague so many digital synthesis and electroacoustique projects by defining his recurrent use of these processes in relation to the intended socioanalytical thematics of his compositions. In particular, THAEMLITZ is interested in using 'interstitial' sounds and compositional processes as metaphors for identities which exist between dominant binarism of sexuality, gender and ethnicity. The compositions in 'INTERSTICES' raise issues of Transgenderism (including Intersexuality and Transsexuality), Queer pansexuality, identity politics and the essentialist dangers of disenfranchised 'homecoming' fantasy. He also discusses the frustrations of developing audio discourse in a marketplace which repeatly restricts fair-use sampling, arguing that musicians should be able to use sampling in the same manner that writers use quotations with footnotes. As usual, THAEMLITZ undertakes these discussions with a critical (and at times campy) eye to his own actions as a producer.