“Wissenfiniti” begins Virtuell Weltanschauung, and periodic noise is made resonant, with the resonance being moved across the frequency spectrum, first fast, and then moved out of the range of human hearing. A low-end of noise is brought in, and then a wall of distorted noise is soon also brought in.
“Cyboj” starts with a feedback loop of full-spectrum noise with some harmonic content. The character of the noise changes to have a slightly tonal character, moving through different frequencies, and a high pitch feeds back on itself. There are a few bursts of halting noise, which finally create a resonant drone that shifts a little. A high pitch is accompanied by other small noises, and is soon accompanied by some noise with the character of the previous full spectrum noise, and then the track ends.
“Artificial Dasein” starts with a distorted resonant drone that shifts around a little bit, then cuts out, and then returns again. There is a lot of delay and reverb, which becomes more evident when the noise cuts out several times. The noise plays, and what sounds like the EQ being adjusted occurs, until the end of the track.
“Tech Arkhé” begins with some noise with a tonal character that moves around slightly. The noise cuts out a little, then returns. There is some clicking, and then some high, distorted resonance that ends the track.
“Willenhauer” begins with some noise with a loud high-low end on some delay. Some EQ adjustments then occur, which eventually stab at various frequencies. Full spectrum, highly distorted periodic noise occurs soon after, which cuts to some lower noise on a delay with some EQ adjustments happening. Some tonal noise can be heard near the end.
“Synthetic Nous” has some very resonant noise with a lot of harmonic content. Some tonal noise occurs, which is slid down the frequency spectrum all the way to the bottom where it cuts out of the range of human hearing mostly, and then there is a pause and some more resonant noise until the end.
“Post-digital Weltschmerz” begins with some low, clicking noise which is soon mostly overcome by distorted, fuller-frequency-spectrum noise with some resonance moved around. It becomes more tonal in character, clicking quite a bit, and perhaps some ring-modulation is brought in and out at different frequencies, which eventually drones a little as the track fades out.
“Satcra Data” has some definitely tonal sounds, which come from string samples being manipulated. Some reverb-laden noise occurs over some droning feedback, cutting in and out. Strings are being played atonally as the track ends.
“ava.VR” has some resonant, harmonically rich, distorted instrument playing at various frequencies, up and down the range of playing. There is a reverb feedback loop which becomes more and more prominent, eventually overcoming the instrument, which then returns at the end.
“h_340159” has the distorted instrument from the previous tracks play a few notes, and then it ends after six seconds.
“Neu Phil” has stabbing, atonal, reverb and delay-laden synth playing, which soon has notes that glide over the high end of the frequency spectrum, only to come down a little toward the end.
“Abstrakt Zukunft” starts out with some high-passed white noise with a drop-off thats smooth that moves slowly down the frequency spectrum, with more of the noise being revealed as the track progresses, until about the 2:45 mark, when some distortion comes in. The noise halts, and then booming, chaotic noise comes in, stops, a tone plays, and lower volume, full-frequency-spectrum white noise is heard fading out until the end of the track, which ends the album.
(https://hermannholsgr.bandcamp.com/album/virtuell-weltanschauung, $5 USD for digital)
