“Fable de Force” starts with low noise, what sounds like a ring modulated violin, atonal guitar playing, which is joined by a trumpet which plays over a fomenting cacophony of guitar, non-tonal synthesizer, and noise. An effect-laden guitar plays to the trumpet which does its best to lead, and then the guitar becomes very distorted and plays some atonal melody and noise. The synthesizer chimes in once and a while, playing sounds which are pitch-modulated by a dial. The guitar plays clean along with the trumpet, and then the song is over.
“Prescience” starts with atonal, ring-modulated guitars which play off of each other, and are eventually joined by a synth pad. The movement of one of the guitars is to stay in a similar place, while another one plays with a more angular movement. A guitar plays with a bit of distortion, atonally as well, and then a bit of pitch modulated synth plays, ending the track.
In “Arrachés à l’instant”, ring modulated synth starts, and a guitar joins and jams a bit atonally as a swell of what sounds like a ring-modulated synth pad plays behind it. All instruments drop out except for the pad for a bit, and then what sounds like a guitar in a talkbox plays atonally. A synthesizer plays ring modulated melodies, as well as the guitar.
“Mon urgence” begins with a loop of softer machine-like noise, and it is joined by the guitar playing insistently and a tom-tom being hit in a swinging pattern. A distorted synth comes in, playing pitch slides. A guitar plays a single note with a fast pitch bend, then plays slightly more complex melody. This goes on for a while, developing a bit. Then the drum drops out, and the synth’s tension resolves, and the guitars noodle a bit, until the end of the song.
“Les Faux Sages” starts with ring-modulated synthesizer, which is joined by atonal guitar melodies. The guitar plays mostly by itself for a while, until some noise comes in, and then the guitars noodle. A guitar plays with a harmonizer for a bit while a synth pad plays. Effects laden guitars play surreal passages there are no words for. A trumpet begins to play briefly, interspersed with guitar. A synthesizer plays with an LFO on the pitch as the trumpet and guitars noodle. Then there is overpowering distortion which noise and notes are played to. Then, the track ends.
“Incantation” begins with a single guitar note repeatedly on a fast delay, with a synth playing ring modulated patterns of tones over it. A rhythmic noise joins the fray as the synthesizer becomes more low-key. A loop of noise plays, and a loop of a short tonal guitar melody joins it. Another guitar plays atonal melodies. There is the sound of distorted noise, as the repetitious melodies develop. Then all instruments drop out except for a synth which plays atonally, ending the track.
In “Une colère sourde” ring modulated modular synthesizer plays along with atonal guitar melodies. Eventually, the synth takes on a very pensive tone, and the effects-laden guitar plays bizarre melodies to it.
“Lucidité” has more ring modulated guitar, soon accompanied by synthesizer, which plays noisily and furiously. The guitar plays in a surreal manner and intensely. Noise plays, sounding a bit like a harsh noise track for a bit, as feedback and noise are manipulated through various effects. The guitar plays a more or less conventional melody as the harsh noise dies down and then returns. The modular synth plays something tonal and ring modulated at the end of the track.
“Froidement” has guitar distorted to sound a bit like a square wave, with atonal synthesizer playing as the guitar gets a more or less clean tone. Crying, despairing synths jump out of the mix, and a guitar plays slowly. Suddenly there is a loud tone, and then several pitch modulated slides, the guitar plays a little bit more, and the album not-too-abruptly ends.
(https://muteantsoundsnetlabel.bandcamp.com/album/mon-royaume-de-chaines-v-des-entrailles, $3 for digital)
