The first track is like a cross between Dead Can Dance and King Crimson, I really like it, works well together. I need simple, repetitive lyrics, it's my only hope but I love the complexities of the music more. This track has a nice flow to it, which I think is the best way I can describe it. That was ShotOp.
mRat starts with rhythmic side-to-side rhythm, then in comes some bass. Suddenly it drops and rises again, interesting sense of movement, almost like a train journey. I love the subtle synthetic solo, then the rhythm takes precendence again, maybe a long train journey, through more tunnels. Almost subterranean in places towards the end. But then it seems we resurface eventually and are back on the track, that disappeared in the black. I have had rat relationships with some of my rodent friends, they are very interesting animals.
Ewagen Part 2 slithers into a vocal soundbyte. The bass rhythm picked up by the synth which then predominates, there's a curious ambience about this track that I can't honestly put my finger on. Something oriental maybe? Everything scatters about half way through and feels lighter, sunnier with the profound depth of a good day at the seaside. Structure was interesting and returns again, almost like a musical palindrome. Some nice touches towards the end. Like an echo of its former self.
Criguere Part 2 is a curious little number, in the background sounds like a busy factory and you are stuck working on a little machine, that appears to start to malfunction. A stilted conversation about midway followed by a resonance I used to dream about repeatedly happens, it's like a flashback. Towards the end I was reminded on Hazel O'Connor's 'Eighth Day' track.
Then, Strowl, dark to start with those lovely squiggles, but something else dominates, like the passing underbelly of some huge, hairy beast. Subtle layers seem to come and go, some not so subtle, quite an ambient piece of work to start. About two minutes in the chanting begins and the invocation of the great old ones begins, I'm getting all Lovecraftian again. The dark woods, the unintelligible voices and darkness thickening all around you. The second half is more active, as the beast invoked rears its hideous features, spouting its soliliquy of revenge on a world that shunned it aeons ago.
Afternoon Gaspuff, starts in space mode and does it perfectly well. A definite sense of otherworldliness about it from the start but it seems to take on a element of everydayness too. The alien wordcrafting and communications are lovely. It's strange how someone just a particular noise can say so much, when a whole song (and I'm talking mainstream) can mean so little. It's a matter of taste, I find this type of ambience, ambitious, progressive and well formed, without relying on traditional structures and melodies. Electronic music has the capability of great diversity within itself as well as in fusion, especially the instrumental kind, it needs to experiment in order to develop creations such as these gems.
Last, but not least, Oyeaho. Starts with a strong pulse of rhythmic synth 'layers'. The voice as background is ideal for me and there is almost a sense of desperation to it. Then more ingredients are added to the mix to casually build up to some crescendo to come, or not as may be. The rhythm is accentuated with drum sounds, an a nice fitting echo effect. Then about half way through there is a ghost rock track in the midst, with some demonic vocalisations. It works really well, almost a track within a track.
Overall, I really liked this one. Chilled but with pools of dark depths here and there. At least that's how it was for me, I look for the music to have the ability to aid my transcendence from reality. This one manages that for me. Nice one KraftiM!-) Thanks.
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