The drone, a slowly evolving sound (or sounds), usually somewhat like a modal fractal set, stands at the opposing end of an absolute dichotomy with silence, while simultaneously dependent on it for its inherent meaning and, therefore, like minimalism, its observable quality. What’s fascinating about music constructed from acoustic or electronic drones is how, despite its susceptibility to scrutiny (which stems from the predominant use of simple base material), it forces the listener to focus on what remains in the composition. For without melody, complex rhythms, or common song-form structures, the details inherent to tone, color, and harmony come to the fore. It’s these details that drone musicians focus on and also what differentiates one from another in a style relatively aurally homogenous — and on Bitchitronics, Bitchin Bajas are no different (and this remark is double-edged, hoo-hah!).