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Not that these tracks aren't dark and mysterious, mind you... just not as straightforwardly macabre (with an exception of course) as his previous exploits.
Slowly cascading waves are strewn with electronic flotsam and jetsam as strange attractor seems to float across an inky nightsky laced with tendrils of liquid lightning and echoing with occasional animal-like appearances. The beauty is in the spatial sensations as one is surrounded by these unnatural atmospheres, which seem as vast as the expanses between galaxies, yet could be microscopic ear-views of molecular nanospaces... In a similarly unplaceable place, deep calls to deep (15:38) also follows a loose pattern of ebb-and-flow. Ultralow frequencies continually swirl and evolve into a strange land sparsely inhabited by remotely bird- and insect-like activities. Eventually a spiraling vortex of sci-fi-like warbles descends upon the region.
A parallel universe to the previous piece, deep calls to dub is in fact a remix of it. Not sure what the "dub" refers to though... no playful island bass riffs or rhythms here... just a re-ordered backtracking through the ripples, drones and rumbles of the original with detours through a few new areas. The foghorn-like bellows, squalling sax-wails-from-hell and occasional monstrous roar of black star do indeed seem to revisit Williams' early stomping grounds of Heresy. 15 minutes of magical murk evolve into a drone-and-choir duet and spins off through several other zones of audio obscurity.
The only track under 11 minutes, permafrost (6:28) thaws into a industrial/organic/symphonic hybrid, where a ponderous violin duet is underscored by dusty breezes and blustery explosions of polar winds. Churning soundstreams of fire and ice form sonic wormholes of everflowing darkness, sometimes grinding, wavering and/or receeding. Looping motes begin to cycle with a Gothic presence underneath a raucous glare.
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