“Unequal house” begins this release. Low fidelity, out of sync distorted synths play, as if competing for space. One of them starts playing higher notes, and the other follows. The melodies become more complex, as they rise above the surface and then rest for a bit, the droning din of the lower synths playing all the while. The synths play constantly, but with a broken sense of time, although the melodic sensibility is intact. The melodies are a simple scale, and as the notes play not-quite-randomly, they give the impression that their pitches belong in a very simple sense, but the halting sense of time makes itself known too.
“Red sun flower” plays with a different patch, and with a more defined sense of time, although still giving the impression of a slightly broken aesthetic. The synths play, develop a bit, then pull back, with the din of a repeating note giving the track structure. The note ends at the end of the piece, and a few chords are played, ending the track.
“Greatest friend” starts with a pad repeating notes, and a sound like a buzzing bee responds to it, as some clicking comes in, which is not quite rhythmic, but not completely lacking in rhythm either. A dissonant chord is played on the synth pad, repeating as the buzzing sound transforms into something else for a bit. The chord returns to a similar way of playing as the beginning, and the sound of the buzzing is altered once more in a way difficult to describe. There is a fast swell of volume on it, and then swells that become more quiet. The synth pad plays different chords, becoming more active, then dies down. The sound that plays in response becomes more chaotic, then the track ends.
“Jaw of the mouth” starts with a harmonically rich repeating distorted synth with a constant synth din underneath it. There is a change about a minute and half in, which moves the synth toward a more developed melody, but the sense of droning does not abate. There is an overload of the bass frequencies, then the mids, on the left channel. This goes away, only to return. The repeating note continues. What plays in response changes a bit, and the track fades out.
“Omiha” begins with a lush sounding pad, that plays a chord repeatedly with a sound like a drainpipe sucking water down into it playing along. There is once again response from a higher register of the synth pad, which plays various chords in response to the repeating chord. This goes on for a while, and then the track fades out, which ends the release.
https://kalaminerecords.bandcamp.com/album/jaw-of-the-mouth
