A loud, low, distorted synth starts out Utopia Deferred in “Chthonic Attack”, which is soon accompanied by low rumblings. Then a subtle flanger is put on the synthesizer. A tone comes in and plays a drone accompanied by the synth, and is soon joined by another synthesizer. Some noise occurs that sounds nearer, and then chorused noise is finessed into sounding amorphous and dangerous. An indiscernible stream of noise comes in and plays along, as the chorused noise stops, and around this times it becomes apparent that a bass drum that’s half-way between sounding realistic and artificial is playing slowly, keeping time. The subtle flanger is no longer subtle, and plays along with stabs of atonal synthesizer. Then the song ends.
“Metaphysics of Nature” starts with the sound of synthesized wind blowing accompanied by a low, droning, bass-y synth pad which evolves over time. Then, a subtle hint of white noise appears and disappears. Things continue as usual, until the white noise appears again, only to disappear as quickly. A bass drum plays slowly. At this time it becomes apparent that a distorted drone has snuck up on the listener, as it is very obvious by this point. Then a woodwind-like instrument plays fairly atonal melodies and is fed through a bit of distortion which becomes apparent when it’s increased in volume for brief periods of time. A short bit of a pad is played. The woodwind becomes louder, and plays different melodies. The sound of pitch-shifted white noise makes its place in the mix, providing extra storminess to the sound. Then all of the sound drops out except for the distorted drone, which does a long fade out to end the track.
Bell-like synths play a short melody repeatedly, and some cursory noises make themselves known at the edge of the mix. Percussive synth like a piano with hammers that knock on wood (if that were possible) comes into the picture. Filter swept noise slowly creeps in. A sustained synth appears and then leaves, only to reappear, then disappear and reappear at a higher volume thrice, the third time threatening to overwhelm the mix. A fourth appearance is more subdued, but more sustained and harmonically richer. The synth continues to disappear and reappear a few more times. Then, resonant tones play something resembling a melody, as the sustained synth continues appearing and disappearing. But then the sustained synth appears for a much greater period of time at a fairly high volume as the melody from the resonant tones settles into a niche. Then, the music slowly drops out.
“Early Eoscene” begins with resonant tones playing a hypnotic melody in what sounds like Phrygian mode. They are not accompanied by anything and play repetitively until the note patterns begin to change a little bit. After about three and a half minutes of this, a bit of distortion is added to the notes, and then pulled back, only to be applied again, and this continues. At around 6:20 the melody changes a bit. Then the melody drops out a bit at around 7:50, only to reappear with distortion, and then change some a bit later. Then, just before the 11 minute mark, the sound drops out mostly, then the rest fades out, and the song is over. Thus ends Utopia Deferred.
(https://cultofwhitenoise.bandcamp.com/album/utopia-deferred, Name Your Price)
