Back in 1998, Nathalie Bruno recalls ‘climbing into the attic at night and getting lost in a web of objects from a past that didn’t belong to her’. She was just over 8, and “Rosi’s chest” became an obsession that only in recent years, now as London based producer DRIFT., she knew what to do about. Lost to the world in 1979, Rosi Crucci's life remained frozen in time, shrouded in mystery, a labyrinthine puzzle whose pieces, cassettes of field recordings and tape experimentations, journals, drawings and random objects, can now offer a glimpse into the soul of one of the last outsiders. "11 Points in Time" emerges as a stroll on strange terrain, following Crucci's steps through the sonic paraphernalia she left behind. These cassettes offered Bruno a collection of haunting soundscapes, forlorn brass instruments echoing through the streets of Madrid, superimposed verses of Pessoa that resonate like distant bleeding ghosts, and Sibelius's samples blending in with these surroundings, creating an oneiric atmosphere where the disorientating amalgamations of many eras compress one another to form a new emerging one in eleven instalments. One pivotal moment in Crucci's journal stands out as the basis for "The End." She writes, "There is no way out of the present impasse. Patching things up is futile; there must be a new life from the roots." This sentiment could be interpreted as an ominous reflection on humanity's future after the devastations of war. However, within the destruction, Crucci hints at the emergence of new forms of life and beauty, offering hope amidst desolation. In "Data Dada," Crucci's foresight comes to light as she anticipates the era of information overload. The song presents an eerie blend of good and evil, almost like an AI whisper from the past, weaving schizophrenic lines from love letters to philosophical warnings, leaving listeners contemplating the possibility of some kind of brain interface reboot exorcism. "Red Lights," the penultimate track, transports us to a doomed love story set against the gritty backstreets of Naples, propelled by a Grace Jones/Post-punk beat that plunges itself into the light-starved abyss of passion. It takes us on a haunting journey from the depths of the mind and body to an outdated, decaying tango club in Buenos Aires, where lost souls still find solace. As opposed to Drift.’s previous record, Symbiosis, from 2020, which she completed in solitude, this time round Bruno took advantage of the surroundings she found herself in. Having moved to the basement in the East-End of London where her other project, Index for Working Musik, has been operating since 2019, she ended up recruiting some of her comrades to add the necessary textures that complemented the recordings; Edgar Smith on double bass, Bobby Voltaire on drums and Max Oscarnold on guitar, keyboard, piano and bass. "11 Points in Time," is an exploration, a venture into the enigma of a life that poses only but questions about the human experience and the resilience of art in preserving memories and emotions across time. Her disappearance may remain unsolved, but what seems certain here is that in the urge to remain anonymous Rosi Crucci allowed DRIFT. to dig a parallel tunnel through time to rescue her and ultimately discover herself as an artist.