Semiotic Drift is a living canvas, realized in real time by three artists for whom the improvising body is a site of perpetual negotiation. Maggie Nicols uses her voice like a prism—words tumble out, disassembled and reassembled into laughter, protest, whisper, and song. At her side, Matilda Rolfsson maps the percussion landscape with fingertips, brushes, bones, and mallets—her playing is an unfolding, a patient unpeeling of rhythmic and sonic layers that respond as much to silence as to sound. Mark Wastell surrounds the group in the slow, tidal shimmer of amplified tam-tam, his touch a constant calibration of presence and absence. What impresses is how the trio builds trust—no one afraid to fall silent, no gesture too raw or too idiosyncratic. Fragments of text, breath and resonance overlap, tumble, and erase; the performance is as much ritual as music, with each player testing their own limits and inviting the others to enter uncharted semantic ground. Over the arc of the album, themes emerge—fragile, mutable, held for a moment then dispersed, so that what survives is not message, but the residue of encounter, risk, and transformation. Semiotic Drift is a lesson in shared invention, and the fearless embrace of making meaning anew, moment by moment.