This is a split between Cape Willoughby Road and Blear Moon.
Cape Willoughby Road’s side starts with “Shipwreck”, which begins with a synth-pad chord, and soon some semi-periodic noise comes in. The synth pad swells to a higher volume, and then a synth plays a sustained dissonant chord over everything, making way for a piano that plays softly in a band-passed part. The synths swell again, fading in and out over the piano. Then, the piano plays mostly by itself, the synths relegated to the background. The piano soon fades out with the rest of the track, ending it.
“Calipso” begins with some slightly distorted synths and strings, which are soon accompanied by a whispering voice that says something indiscernible. There is a swell of noise, and the whole track becomes very distorted. The voice speaks, and a synth becomes discernible, then less so. The noise swells and dissipates. It comes back later, in a booming manner that almost interrupts the music. The music seems to fade in and out as the swelling returns and leaves. The voice ceases, and the music fades out.
“Flying carpet” begins with the sound of synthesized wind, which is soon accompanied by rhythmic higher-pitch cymbal-like noises and piano playing. As the wind blows, the piano frequently pauses, and after a long rest picks up playing again. The instruments cease, and the wind dies down, and the track and Cape Willoughby Road’s side are ended.
On the first track of Blear Moon’s side, “11,600 years ago”, a synth-pad chord plays, and is soon accompanied by a low choir-ooh. There is then a hint of white noise in the background, and a higher choir-like patch plays. A river-like stream of bass comes in, playing a constant hum behind the synths. There is a hint of some kind of popping noise, and it goes away, only to return. The high choir-like synths develop a little bit more. Then, all mostly fades out except for the bass, which soon also leaves, ending the track.
“There” starts with some low-passed synth noise with some resonance on it, and synth strings come in to accompany it, playing layered melodies together in a subtle manner. The synths develop, swelling with a melancholy sound. The strings, by the 3:40 mark of this track are quite multi-layered. What sounds like a string playing backwards with a ping-pong delay on it occurs, and the strings fade out as well as the rest of the noise.
“Ongoing cases” starts with a multilayered synth drone with a lot of reverb on it which builds to a higher and higher volume as the track progresses. Some noise whose nature is hard to discern can be heard in the background. Low-volume bursts of distorted synth chords play in a rhythm, and get louder as time goes on. They cease, leaving the reverb-laden, multilayered synth drone, which soon fades out.
“Few Survivors” starts with a low rumble, as well as a low choir-ooh. Bursts of noise play in a rhythm almost at the edge of hearing. A detuned choir patch plays a melody with pitch slides. Noise swells in and out of the mix, gaining traction with each swell. The track ends after a bit of this, which is the end of the split.
(https://secretpress.bandcamp.com/album/split, Name Your Price for digital, €8 EUR for cassette)
