The fruits of a five year journey into self-discipline and personal discovery, Mara Barenbaum's Group Rhoda uses stark musical practices and analog electronics to evoke imagery and rhythms both atavistic and futuristic. Using the tools of musical simplification-synthesizers, analog effects and drum machines-Group Rhoda's aim is to build a pop music that reaches freedom through discipline. All instrumentation, whether in the studio or on stage, is played live and with no sampling; a completely organic language formed from the roots of synthesis. Out Of Time, Out of Touch is the culmination of a process which began with a self-taught keyboard technique and a desire to learn about the machinations of the tools of pop music and, in turn, the environment in which it is produced. With a grounding in minimal wave and the post-industrial landscape, GR takes surprising detours into tropical rhythm patterns, dubbed-out bass throbs, hypnotic Wurlitzer flourishes and, above all, GR's distinctive, plaintive vocal. The alluring contradiction at the heart of Out Of Time, Out Of Touch is the push of the psychedelic, the hyper-real, the overtly physical and the pull of the artificial, the synthesized, the stark. This contradiction is brought to light continually through-out Out Of Time, Out Of Touch-whether in the classic west coast psychedelic melodic sense played with Suicide's mechanical simplicity, or the industrial rhythms of Throbbing Gristle drenched in a technicolor, sun-blanched imagination. The songs on Out Of Time, Out Of Touch seem to be plucked from a continuum-the throb of the bass and splashing of the drum machines are ongoing in the universe-with GR forming the songs with precision.