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Literally a crazy-quilt of styles, Lost in moments keeps them all balanced (well, slightly unbalanced is the overall feel) ... "normal" instrumentation including moody sax interludes and lounge piano are mixed with more-experimental electronic elements and ready rhythms.
Melancholy ivories slowly wander through spattering beats, synthstrings, comparatively odd musique-concrete textures and a distorted synth lead to the first part of
Porn piece or the scars of cold kisses; the second part introduces bittersweet alt-rock vocalizations over blue piano hues, accented by electronics and rhythms.
Greyness surges and recedes through the Hallways of always' piano, drums and scritchy e-abstractions
Over a spooky blend of piano and strings, electrobass pulses and cymbals spatter like hot grease; the ebb-and-flow of Tomorrow never knows (7:59) is then threaded by a sinuously twisting, buzzing synth lead and industrialized rhythmic accents, all of which finally subdues into a gentle wash. From a sparse (ringing, bleating) intro
The future sound of music grows more tuneful (if slightly eerie) then intensifies into a raging, drum-lashed digital monster.
We are the dead's croaky whispers are a bit overt, but the ghostchoir and empty radiowaves are suitably chilling.
Those isolated planes seep directly into the microminimal industrial zone of Dead city centres; after nearly four minutes of vaporous seething, something of a freeform jazz combo slips into action, as does some porn starlet via sample. Speaking of samples, a gritty voiceover injects menacing film noir attitude, before the track degenerates into quiet fragmented tonal blips. Anxiety-oozing strings are dappled with blunt beats as Catalept (2:17) grows increasingly agitated, until a sudden shut-off. Multitracked vocalizations are the main focus of Nowhere/catastrophe which intriguingly manages to blend melodic popforms with scathing electroindustrial raucousness, then with smooth piano and fluttery electrons.
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