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I can't help but think that many "church folks" might scramble for the doors screaming, as if the organist were possessed were some of these pieces performed before their congregation (not that that's necessarily a bad thing).
With a bit of lilt in the slightly detuned organ stylings, track01 sounds like it could have been performed by the Phantom of the Opera in a particularly happy-go-lucky (though still decidedly dysfunctional) mood. track03 travels in softer, sustained chords, though even these are pierced by almost-screechy strands.
Those plush moods are more straightforwardly rendered in the entwining, wafting stringsounds of track04 (and track08). These conceivably could "play" in a church environs, despite being slightly off-kilter.
Major deconstructions abound in track06, as thousands of fragmentized bell-tones and random thuds skitter along a backdrop of meandering tones. Similar radical noise erupts from track07
Spooky violins and cellos seems to swirl around track09 like the soundtrack to a silent horror film, while track10 (5:44) takes a longer detour to someplace more tropical via warmly dancing xylo-rhythms.
Dense, buzzy layers of musical synthdrone rise and fall briefly in track11 (1:35). The grungy granules which climb the walls of track13 are dappled with sporadic (practically random) beats, from snare-like hits to big bassy booms. Entering the realm of more-contemporary beatronics, rhythmic bassdrum pulses and cymbals pump up track14's fluttering electronics, which end up grumbling in noisy feedback loops.
The spastic warbles of track16 really rub my nerves the wrong way...
though they're immediately calmed back down by the synthetic drifts of
track17; freeform waves which sound as if they were rendered by an old electric organ. Bloopy notes erupt like big sonic bubble bursts, backed by light percussion in closing piece, track18.
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