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The sunlit sounds of chittering birds and running water leads into
The Mouth (3:30); once inside though, sporadic bellowing tones are accented by stalactite-drips and other textural glints. Upon entering
Cavern I - Black Air, reverberous thuds sometimes echo through the seemingly living chambers. With ghostly inflections, densely churning tones begin to flow through the confined-yet-vast crevices. Still alive with continual droplets,
Cavern II appears to be a more spacious vault, though the moaning spirits do swell into (then out of) the room, as do more-musical entities, spiraling upward in (rather) thick, swarming veils.
Brief scattershot percussion is introduced to the mix when Death from Above's dank breezes blow; the piece becomes somewhat less spooky, but then grows scarier yet when whooshing phantasms and chasmic drones growl. Busily echoing and splashing environments await in Cavern III - Atlantis? followed by a wash of tonal streams. Here the drips are further away, and off-kilter music seeps in from
Sea In The Dark.
Atonal chords and thunderous rumblings emerge from the passages of
Cavern IV - Lost Souls; its adjoining cranny,
Unknown Origins resonates with nearly-impenetrable veins of ringing strings, shape-shifting choruses and occasional thuds.
Entering on some of the joureny's lighter movements,
Cavern V - Circle of Darkness swelters in the dreamlike sway of the earth's underground breaths; neither it nor companion piece Circle of Darkness - Part II (with its lulling, respiratory low tones) come across as foreboding as many of the the previous explorations. Almost-mechanical resonance intrudes upon the intro to the exit piece; soon enough though, Into the Light (11:36) resurfaces into the sunshine near swirling waters and lively birds. The nature sounds behave a basic field recording, though eventually various layers of harmonic overtones drift through the scene, along with inexplicable shufflings.
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