Terjebak starts out with “Kamu Bohong”, which begins with some resonant periodic noise with slightly ring-modulated tones played in the background. There is also a wall of white noise that can be heard. After a bit, another wall of noise comes in which is more distorted. The sound drops out briefly, and then comes back. There is some slight flanging on the sound. At the end of the track, the harsher wall becomes louder, and then the track ends.
“Every Word You Said is Painful” begins with some high pitched ring-modulated resonance which plays over a flowing wall of static, becomes more high pitched briefly, and then becomes more subtle, alternating between high and low poles on the frequency spectrum. A resonant drone of noise comes in and then alternates with some flowing static, which sounds a bit underwater. The track ends.
“I Was Trying” begins with some resonant noise heavy on the full mid-spectrum and dropping off in the lows and highs, with the resonant frequencies in the direct middle. Noise flows like water in the background. The resonance is adjusted and overdriven a bit briefly, then goes back to its normal state. There are some slight alterations to the sound, adding and subtracting resonance, but the base of the sound remains the same until the end, when another wall comes rushing in, ending the piece.
“Liwung” begins with distorted resonance screaming in a pattern with a pulsing low-end. The pattern changes a bit after a while, and the low end shifts around a bit, almost tonally.
“You Trapped Me” has a noise wall with a delay effect on it, which gives it the slight character of a rushing train. The booming, rushing sound cuts out a bit, then comes back. There is the sound of something like rushing flames. The sound rushes around in a different manner, and then resonance like a foghorn blares on the low end, then stops. The sound occurs again a few times, each time coming back to the train of noise. The character of the sound changes briefly toward the end, and then it is over.
“Like Daughter Like Mom” begins with rushing periodic noise heavy on the higher part of the low end, pulsing a bit. This pulsing becomes more prominent soon. Distorted noise is let in and out of the basic wall of periodic noise. The noise creaks and churns, and sounds like it burns in the background, as the crackle of static and a noise wall definitely leave that impression, false though it is. The pulsing becomes very prominent for a bit, then ceases in its prominence. The track ends.
“There’s No Room Anymore For You” begins, and booming, rushing noise can be heard, with the sound of resonance creating feedback being very salient within the sound. The resonance rushes into different crevices of the sound spectrum, and eventually takes over the sound almost completely. There is a drone of feedback accompanied by shifting tones created by resonance. This goes on until the end of the track.
“Perasaan Tiap Pagi Hari” begins with some delayed harsh noise, with changes to filters creating echoing sounds as the noise creates a buzzing drone beneath it. Eventually, the drone breaks down, and then is made lower in frequency. The fiddling with filters breaks down into the occasional spike in resonance, which echoes. The noise becomes full of restlessness behind the noodling of the resonance. Some periodic noise with delay on it like a large vehicle starts up and seems to “speed up”, sounding like a restless machine. The noise breaks down into chaos, exploding in various directions until the end of the track.
“Tanaman Guima” is the final track, which begins with heavy lows in a constant pulse. Heavy, distorted mid-resonance comes screaming in and after a bit seems to drone, its character being altered only slightly for a while, until the resonance is changed by either filter or EQ. The lows pulse slower, then faster, and the resonance breaks down into a low-frequency and moves around in a narrow frequency range, like a harsh shimmer. The noise screams. The character of the droning noise changes, and remains mostly unaltered for a while. The screaming resonance returns a few times, then stays more permanently. The resonance sounds almost like the whistling of a kazoo for a bit, then cries out through the mix. It sounds like a bit of ring modulation is played on the basic drone in the background. The resonance plays a sustained tone, and the track and album are over.
(https://silentmethodrecords.bandcamp.com/album/terjebak, Name Your Price for digital)
