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A gauzey tonal fogbank, Formless, of Pathos (3:39) envelops the opening minutes in amorphous pulsations as streamers of resonance periodically break free. The organ-like wind-synth chords which stream through 2% Eternity are speckled with faint background sounds of conversations and general activity within some large space. Soprano sax lends a bit of a faraway-train-gone-musical aspect to the steady drones (and sporadic punji accents) of Lichteberg Figures.
Maximizing its minimalism, Looking in on Schrödinger's Cat drifts through a gorgeous crystalline soundworld brushed by the lightest of tones and delicate glints. The glaring, densely-packed strands of Terminal Velocity: Infinite are more immediate, ominous and loud, falling inward toward an unknown destiny, surrounded by choir-like glimmers and orchestral-ish currents. Blown by chilling breezes, murky darkness swirls around Luxon Æterna; this could be a perfect soundtrack for an impending blizzard.
Like a chorus of not-so-distantly howling wolves, wind-synth is enjoined by Tibetan singing bowls and pentatonic bansuri flutes in the wavering multi-toned expanse of Nada Thing. Roberts breaks out a sound arsenal to create the shapelessly wandering Scientists Falling In Love (8:34); wind-synth, bamboo sub-tone flute and swedish overtone flute sounds are mixed with space radio voices, solar winds and other ambiances in this darkly rippling sci-fi excursion. The flatly droning plains of Supreme Infinite Essence are topped by wispily fluttering flute sounds, serene and faded.
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