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Horde absolutely swelters in a whooshing industrial-strength steambath, streaming with assorted unidentifiable textures, which rather rapidly dissipate at its conclusion. A primitive rhythmic section and altered tribal vocals open Rebirth in Cameroons to swirl in a dreamily meandering electronic haze, to be replaced by various sonic comings and goings of sound and music. So many phases as to make the track seem generally schizophrenic, but interestingly so. Another whorling vortex, but this time consisting mainly of operatic vocals, Hot Bread/Mic-o-Bay-u is backed by quietly speedy beats and a shimmering loop. When the miasma of singing disappears, a clattering, squeaking, cartoony cacophony noisily fills the void.
The seemingly-sped-up guitar melody of Interlude #1 receives odd, hyperactively glitchy accompaniment, warbles and ratatatat beats. Somewhat Gothic musical stylings (of organ and bass) are draped with richly wailing vocal overtones when In the Box carves out a different niche that could be described as Cathedral Rock. Under Burned Hills cavorts chaotically amongst trilling, arpeggiated bleeps and fluttering feedback, backed by a mechanical cymbal pattern.
After that craziness, the straightforward acoustic guitars sounds and smooth electronic and vocal accompaniment of Shaved Sound seem extremely "normal", even downright "musical" as most folks know it.
It's dark, though smooth, sailing on a densely surging sea... at first; then Between Tides is sucked into a black maelstrom of monstrously strange surround-sounds. A happy ending awaits though, once through the amazing vortex. Freeform jazz-rock is the basis of
The Scorched Ground; wandering bass, pattering beats, spacey synth curtains and sheets of guitar feedback are the main order here.
Soft sweetness and light imbue Chris Moriarty's keyboard wonderland, After the Rain (2:23), with a delicate, almost-new-aginess. Another musically "ordinary" piece (in a prog-rock vein, perhaps), Untitled #1 features synth wafts, drumbeats and a sliding 4-note bass riff.
Explorative rock sounds prevail in Untitled #2 (13:59), marked by its smoothly cool bassline, beats, trickling guitar droplets and synthwaves. The track vaporizes toward its end, to loll in a spaciously droning expanse.
Shadowy abstractions and menacing moods draw threateningly near in Untitled #3; unclear radiowaves and a shuffling presence lurk here also, fading into almost-silence.
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