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The cinematic moodiness of Devour seems to surge between various scenes of some Arabic film. Bolstered by echoey scatters of percussion and a gritty drone, flash-by vocal snippets and other audio snapshots serpentine around the listeners ears. Headphones are highly recommended for this particularly involving production.
Palestine is our Islamic Land follows with a similar, though not as effective, approach. Yet another darkly simmering panorama of Middle-Eastern-flavored intrigue, Return of black September boils within a deep drum-and-drone chorus, accented with shifting currents, ominous outbursts and assorted samples.
Jangling strings and whispered vocals are only part of the dense, convoluted mix of Thugee (18:02); also heard are rippling beats, vocal chants, clattering cymbals, musical pulsations, feedback waves, and more. Brief and buzzy,
12 Azzazins (1:59) wavers electronically without any real beats, though receives rhythmic effects and samples before abruptly cutting off.
A chaotic machine-like commotion and ringing bleeps all but obliterate the spoken telecast words of Anti-arab Media Censor. Throbbing drumbeats temporarily replace the din with a thunder of their own.
Less overt, Deceiver delivers an airier assortment of ethnic instrumentation, beats, flutes, crickets and hushed spoken bits.
Bonus track Shaheed rounds out the collection with another (relatively) quiet affair. Murky voices occasionally yell amid hazy gongs and spaciously echoing drums.
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