Flute-like synths come in and are pitch modulated, playing almost playful melodies with quite a bit of delay. Low string-like melodies play as the low-end, repeating, evolving, and then moving toward simplicity again. The flute-like synths stop, then come back, repeating a pitch-modulated melodic fragment, and then the track fades out.
In “Fragile data”, the sound cracks as a synth pad plays meandering melodies. Noise like a wash of water can be heard coming up on the mix like waves. A synth string plays slow melodies, and then suddenly becomes prominent, playing with delay. Next, there is a swell of noise which becomes loud, and the track comes to an end.
“Afterworlds” begins with some ambient noise that starts with a lot of mids, and not too many lows or highs. The sound becomes richer, expanding as some synth strings come in, not too prominently. The noise swells some, sounding like a rainstorm with effects applied to it. The bass slowly plays underneath the mix. A noise is made, perhaps by an animal, perhaps by a human, and soon the track ends.
“Convert congregation” begins with a droning pad and a two-note melody. The pad swells and becomes louder until it is actually quite high in volume. The character of the drone changes as it intertwines with another pad. There is a periodic noise that plays briefly, then ceases, and the drone plays intertwined with some synth string harmonies, before leaving the harmonies to themselves to play, ending the track.
“Jaeger’s cape” begins with some pad harmonies repeating themselves as they become a bit louder in volume. There is a filter sweep on one of the pads, giving it a different character than the rest. Soon, some strings come in playing harmonies. The sound evolves quite a bit, but in a subtle manner. The pads drop out, leaving a synth string, and the track ends there.
In “Watching tower”, a brass pad plays in harmony, as some noise swells behind it. The pad increases in volume. The pads and the noise play a game of intertwining themselves with each other over the course of the track, until its end.
“Temptations” begins with some pad chords playing long, sustained parts, which are soon accompanied by a low, rich bass tone. The chords and bass play for a while, and a distorted synth comes in, playing quietly, then fading to almost nothing. The chords mostly fade down, leaving the bass playing, and the song quickly fades out.
“Emphatic solace” starts with a rich pad, playing chords that swell over each other. Soon, a bass on delay comes in, playing a couple repeating notes. This pattern stays very much in place for the entirety of the track.
“Learning from kids” has a low choir patch play with the sound of synthesized moving water like a waterfall in the background. A synth brass pad plays, meandering a bit. The water fades out, and then the synths end.
“Letting go again” begins with the sound of birds playing with a string pad that evolves over time, becoming more intense, and then finding a repeating niche. The sound of water makes itself evident. The birds drop out, and so does the water, leaving the pad to play a little long, until the end of the track and album.
(https://blearmoon.bandcamp.com/, Name Your Price for digital, €13 EUR for CD, €9 EUR for cassette)
