Cognitive Constellation Corps - Thank You for Your Feedback (I)

​Cognitive Constellation Corps

Thank You for Your Feedback (I)
self-released; 2026

By Jamie Funk
​

Thank You for Your Feedback (I) is an album by Cognitive Constellation Corps, the electronic music project of Belfast artist Brooke Tamsin Clevenger. Clevenger has worked with synthesizers and computer based recording systems since the mid 1990s, producing a large catalogue concerned with memory, identity, consciousness, and communication.

The album contains nine songs across a concise 31 minutes. Clevenger’s discography identifies it as Album 3 and describes it as an experiment with pop and the fourth wall. An alternate version appeared soon afterward, placing these songs within a much larger collection of recordings released throughout 2025.

“Opening Loop (i)” introduces the album with a patient arrangement, a processed vocal, and a steady 4/4 beat. The glossy production draws from pop, while the vocal treatment gives the song a more uncanny character. “Signal Received (i)” develops that approach further. Through headphones, the precise timing and carefully shaped delivery give the voice a stylized presence that suits the song’s technological imagery. A simple arpeggiated synthesizer repeats underneath, supporting its theme of transmission and response.

The title song changes the vocal character and introduces traces of soul and R&B. Its expressive phrasing gives emotional weight to language commonly associated with automated replies. The words could communicate gratitude, dismissal, resignation, or an attempt to bring a conversation to an end. “Echo Chamber (i)” moves with the measured pace of a ballad, while “The Curve of Clarity (i)” contains one of the album’s most immediate melodies. “Threadbare, Threadshare (i)” continues its interest in repetition and incomplete communication. At just over two minutes, “The Response Loop (You’re Still Talking)” presents that idea in its most concise form. “Harmonic Distortion (i)” follows before “Always (i) [Sevahem]” closes the record with a term connected to Clevenger’s wider philosophical vocabulary.

I began recording bands in the 1990s, when obtaining clean audio could be a challenge in itself. Listening to this album, I was struck by how thoroughly that priority has changed. Clarity is now readily available, giving artists more freedom to shape voices, alter textures, and place familiar pop elements in unfamiliar settings. Clevenger uses that freedom as part of the album’s identity, allowing the processed vocals to reinforce its interest in technology and communication.

The album’s electronic aesthetic invites comparisons to Aphex Twin or Boards of Canada, though I would not place it at the same level of compositional complexity. Its approach is more closely aligned with pop which I think overall is more accessible for the masses. 

The record contains several interesting production choices within an aesthetic that has become increasingly common in recent years. Its ideas about processed voices and digital communication give those familiar techniques a clear purpose, and I am interested in hearing how Clevenger develops them on future releases.

Become A Fan

Tweet