The record begins with a stuttered pulsing electronic tone that is thick and weighted. This pounding ensues with a relentless vision. Crackles and other noises simmer just beyond vision. Gradually tumbling crackles peer through the pounding and far off piano intrudes. New age synths bleed into vision and bell tones add a sense of occasion. Vocals are barely audible amongst the thickening din. The sound is somewhere between early 90s minimal electronic music and smoke-filled drone of many-a-underground tape artist. The sound is kinetic and blissfully nowhere, collapsing a little in its own ambience.
Drones and taught, organic string plucking unite in a stuttered cycle of repeating motifs. The angular structures might compare with the tight stringed mathematical lute playing of Jozef Van Wissem at his most obscure. Yet the comparison is only in tonality. The melodies are sweet and unchallenging. The end sees an unnecessary synth that reminds me of the sound track to the original Deus Ex video game (a geeky comparison, but one I think is valid). All is drowned in mediocrity, and the original vision is sadly lost to over production.
Next up is an incredibly pretty bounding piece of light key tones that swirl a dance of fragile light and dreamscapes. Other subtleties of production swell the sound bringing to memory artists like Plaid and Blumm. By the end things sound a little like an overly ambitious bedroom production.
The record moves toward a slow-burning guitar and synth piece that has its heart firmly squared in swelling post-rock of mid/late era Mogwai. This bleeds into another long piece. Communication beyond the ozone is serenaded by low organ chords and timid percussion.
Further instrumentation is placed in a realm that one might have found on the Morr Music label 5 years ago. Elements of fairy-folk-electronica and ambient synthscapes fuel the out put of the track.
The remainder of the record has its moments but never strays to far from the safety of its beginning. The final movement has some exquisite tones but ultimately I am left underwhelmed. 5/10 -- Peter Taylor (28 October, 2009)