Sewnshut’s self-titled mini-album starts with “Peak Convergence”, which begins with a guitar melody floating on distortion that is soon accompanied by electronic beats and a simple synth patch which plays a melody of its own. A resonance sweep on a synthesizer can be heard in the background, and the whole song fades out.
In “Quaid”, a very resonant synth patch plays a simple melody, which is soon joined by some scattershot beats. A saw wave with a little resonance on it plays a fragment of melody along with the very resonant synth patch. Then there is a breakdown as a synthesizer plays at mid-pace, and is soon joined by chaotic melodies which coalesce together to shape a period of melodic development toward disorder, as the beats become disjointed as well. There is a break-down, and a synth horn plays by itself, ending the song.
Next, in “Diminutive Mode” a synth pluck begins the track with a pitch-slid sine wave providing some simple counterpoint. Drums that are pretty heavy, but not very distorted, come in with a lot of prominence on the snare as the drums seem vaguely on the verge of chaos. The synth pluck and the sine wave develop and interact with each other for a bit, and the beats stop. A melody plays a little bit, and the track ends.
“Temporary” starts with a pitched down crash cymbal being hit quietly, followed by some square waves, which are joined by beats that give an impression of controlled chaos. The square wave melodies develop with the beats over the course of the next couple minutes, and a bass comes in and plays a distorted line under the square wave. Then, the track quickly fades out and ends.
“Perceptive Waste” begins with pizzicato melodies that are soon accompanied by a digital bass drum, which plays in what could barely be called a pattern, as the pizzicatos fade out, and then back in. A snare can be heard occasionally, and then a clap comes in, playing along with the bass drum as the pizzicatos become rather frantic. There is a noisy incident in the background, and later a ring modulated drum of some sort plays in rhythm with the rest of the drums. A resonance sweep on a sustained synth can be heard in the background. The pizzicatos continue playing until the end of the song.
In “Overstater”, a resonant instrument that sounds like a xylophone with delay on it can be heard playing a minor key melody, and then off-kilter beats come in. A wubbing brassy bass can be heard in the background, with some ring modulated tones being played as well. There is a great sense of chaos. It breaks down into order, with just the beats playing and a synth, until a wash of guitar distortion takes over the sound, and all instruments except a few guitar harmonies stop playing. This ends the song.
“Regret in Tribute” starts with slightly percussified sine-waves with the occasional sound of a string instrument with ring modulation on delay, as some unusual percussion comes fading in with a synth string playing. Eventually the drums stop playing, and the instruments cease playing one by one.
In the final track, “Choke”, a synth string with a slight bit of distortion can be heard playing a melody, and a percussive bass comes fading in and becomes quite loud, dominating its place in the mix. A synthesizer plays brassy tones, and a lower part plays along. The melody repeats as the song fades out, which is the end of the song and album.
(https://sewnshut.bandcamp.com/album/sewnshut, 80 NOK for digital, 80 NOK for cassette)
