The sound of synthetic wind blows as a voice and string-like synth fades in and gently provides melody, and then fades into a droning pad which slowly develops intertwined with the melody, which eventually stops, leaving a secondary melody which is less discernible to wrap itself around the pad next. Development is obscure, yet relaxed and not abrasive.
Distant synths slowly dance around the pad, which eventually becomes stronger and threatens to gently overpower the sense of melodic development that is present. Then, a flute-like instrument makes itself known with a repeating loop of melody as the pad continues to slowly move.
Obscure melodies make themselves known upon close listening, unfolding in an exceedingly subtle manner. Then, the synthesized sound of rocks, like a tiny avalanche is present. The avalanche does not stop but becomes more sparse and is joined by more layers of synth which hang in the mix. Then the synths fade out except for the rocks and a single note playing, which also fades out after a small period of time. There is then a little more than a half minute of silence.
In “Thorondor”, a halting melody plays over a synthesized choir. Then a loop of beats start fading in, moving between the right and left speakers rhythmically. The halting melody, which is more like a beep, is altered and this gives the song a hint of melodic development. Something sounding like a shot repeatedly rings out, and then all sound stops except for this sound, which has an echo effect on it. Then there is another period of silence.
“Landroval” begins with something reminiscent of beats with a curious square wave character that have a delay effect on them. The sound develops, with a filter sweep ever so slightly making itself known over the course of what could be interpreted as a semi-lengthy chunk of time. At around 2:45 a softly disharmonious synth comes in, and then a minor-key synth arpeggio plays over the mix. There is some futther development in the sound of the beats, although it is subtle. Then, a short square wave melody comes into the mix. Finally, the beats assume a monotone character and everything threatens to fade out, then all stops.
At the beginning of “Epilogue: Taniquetil” low synth pads play both gently and melodically. A higher pitched melody comes in which takes a long time to develop. The synths develop with each other, and then fade out. Then a new synth begins, very crystal-like sounding with fast arpeggios within a pad. The song threatens to fade out until it is interrupted by a fairly loud sound, and then the end of the album is reached.
(https://auricularrecords.bandcamp.com/album/gwahir $5 for digital, $8 for CD)
