Every signal leaves a colour behind.
LUMA works as if frequency had a temperature. In Tokyo the studio is treated like an optical bench: light enters, sound leaves, and something in between keeps a colour that was not named in the session.
The conversation turns on residue. Not effects. Residue. A tone that continues as hue. A hue that continues as tone. The two are not metaphors for each other. They are the same delay, observed twice.
Afterlight, in this work, is not a title applied to a finished track. It is the condition the track is written inside.