| Synthstreams lead the way, often topped by very straightforward piano sounds; the guitar presence is generally half-hidden in various altered states and the rhythm sections are never obtrusive.
Respiratory synth exhalations are joined by rhythmically plucked strings as
All Directions Are Up evolves, picking up additional layers of chiming notes and scattershot cymbals before all fades. Jangling strums pass over and through the ringing, droning, hissing, rippling expanse of Wind Without Air (12:06), a long, atmpospheric piece. Some fluttering streamers segue into Too Far Home, where mid-tempo beats and piano notes meet with a theremin-like wail.
The tribal-ish beats of Luca Somnorium stir a simmering stew of drones, keys and spiraling electronic flairs. Warbly bleeps, bass notes and a breakbeat-lite rhythm emit from Unexpected Companions; brassy synth blares and more pile on in dense stratification. Less overcrowded and lovelier for it, In The Midst Of Desolation provides a driftier zone of shapelessly flowing soundstreams, highs and lows.
Microscopic percussive textures pulse beneath the tonal cascades of
Mare Serenetatis (2:51); echoey piano tones mirror their prettily downward floatation. Despite the painful-sounding title,
Severed Son is another soothing round of spacey ivory-tinkling, though with the difference of murkily buried (and even then murmered) male vocalizations and half-chants. Synth-symphonics are overlain with celestial piano in
Lucas Mortis; the semi-saccharine sweetness is offset by the edginess of grittily shuffling undertones.
Cyclic chants regularly phase through One Divine Neuron, as does a somehow-accordian-like flow of processed electric guitar sounds. Deep, trancey sci-fi pulsations and semi-slow cymbals from a Displaced Space are topped by lazily twinkling keyboards. Those elements resurface in Falling Like Light, but backed by more chaotic textures and beats.
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