The album starts with “Monolith”, which begins with a very distorted bass note that thunders in with a low two note choir melody, and this is repeated four times until a metallic sounding drone comes in over the top. After four more repetitions, noise starts to snake through the mix. Then, a drum which sounds like it’s being beaten with a mallet thunders out over the mix repeatedly. A distorted instrument plays two notes in repetition. Reverb feedback echoes, overcoming most of the mix. Then, all drops out except for the low choir and a distant drum hit. A drum begins playing two beats in succession, then more feedback can be heard, and the song ends.
In “The Blue Boar” a low choir starts out with some distant wet reverb-laden feedback, which metallically washes the sound in the distance which sounds like thrashing. Low synthesizers play at the edge of discernibility. The sound is active, but heard like it is occuring on the other end of a cave one is in. Suddenly, there is a wooden-sounding crash made to last for a long time which is fed through distortion and reverb. An extremely low voice booms in a bestial manner, filling the mix and then is silent for a period, and then starts its bellow again. The distant, low synthesizers become a little more apparent, and then there is a third bellow. A quiet distorted voice can be heard talking, and then the song fades out.
“Empty Room” begins with frantic strings which play and are overcome by a low voice and the thrashing of indiscernible noise. As the chaotic sounds repeat themselves, the indiscernible noise eventually stops for a bit, then restarts. While the sound changes, the atmosphere mostly stays the same for several minutes with the low voice, the thrashing, and other sounds. Then, slow, wooden sounding percussion starts and is accompanied by a slowly moving, low-frequency pad of some sort, and then barely audible are bass notes which sound softly, playing a melody. An extremely distorted instrument, perhaps a guitar starts playing slightly tonal noise and feedback, and after a while of it playing, the percussion drops out, leaving chaotic noise, low voices, bass tones, and perhaps other sounds that are impossible to discern. The volume ramps out.
The track “Shelter in Place” begins with the sound of water, low, smooth bass tones and low synth, and this arrangement remains generally unchanged, except for some sounds on the edge of the mix coming in after a minute or so, popping their heads in briefly then looking away, only to return. Suddenly, at 2:10, there is movement and the sound of feedback, and the noise of something moving. Each movement is accompanied by feedback, until a wash of distorted reverb-feedback occurs, and there are various movements. An uncomfortable synth plays a reverb-laden melody. Then windy, distorted sound occurs like the sound of a fan put through distortion. This stops, and there is a hint of backwards string melody hidden within wet reverb. Various movement sounds occur. Then, the track fades and the album is over.
(https://kalaminerecords.bandcamp.com/album/the-blue-boar Digital is name your price, cassette €7 EUR)
