This is a split tape. One side and one song is done by MASSS, and the other side and two songs are by Wasted Cathedral.
In “5 Chambers” by MASSS, a synth string drone starts and is sustained with a slight bit of filter modification provided briefly. Then, different drones come in and out, mostly of the nature of synth strings, until a pulsing bass plays with filter-swept tones playing over it in gradually accumulating layers. Dropping in and out of the foreground of the mix are the various synths, all swept by filters creating an atmosphere of night and mystery.
There is a sense of progression to the filter swept synths, that they are moving toward something. The sense of movement in the music is palpable. A dissonant sweep appears and becomes the focus of attention. It is not resolved, but overcome by other synths.
Finally a wave of fast-swept synthesizers overcomes the sound, and a warm bass plays under it, and it is accompanied by synth strings which develop a layered sound which moves toward a cacophony of nonetheless mostly consonant sound which then smooths out into orderly layers of synth and bass.
Then, the sound trails off and what sounds like a djembe plays with a wooden block and a constant drone until the drumming trails off and reverb-laden xylophone-like tones play to filter swept synths, with the occasional sound of a tribal bass drum being heard. This general atmosphere is maintained for a few minutes, until instruments fade out into the clinking of bells and the sweeping of filters on noisy synthesizers, as well as a pulsing bass drum. This atmosphere develops into another cacophony of filter sweeps. Then the sound drops out (except for a shimmering synthesizer) until the track is over.
In “Beautiful World” by Wasted Cathedral, a synth pad drone appears with some subtle percussion in the background and is maintained in a mostly unaltered state for quite some time. At about the 4 minute mark, a bit of another synthesizer can be subtly heard, and it is especially apparent when it drops out at about 4:45. It reappears half a minute later and lasts about a minute. A flute-like tone appears, then drops out a bit later. This state of affairs continues until the song starts fading out a little before the twelve minute mark, and then it is ended.
The next track, “Blackout Axis Fucked Infinity” starts out with a synth pad accompanied by a voice-like synth which sings over the occasional synthesized pluck of two bass notes. There is a slight bit of development in the sound of the pad over the course of a few minutes. Subtly, a melody plays in the background, almost impossible to discern even upon close listening. At around the six-minute mark the pad and voice fade out, leaving the pulse of synths and synth-like choir, which then cease, ending the track.
(https://misophoniarecs.bandcamp.com/album/masss-wasted-cathedral Misophonia Records, 4 GBP for Digital, 6 GBP for tape)
