Those listeners who have already had some experience in his earlier works, of course should remember a peculiar feature of the music - it's depth, fantastic depth and thickness of the sound. The note on the CD says that all the tracks are built from microsamples of Soviet vinyl records, home microphone records, percussion fragments and processed white noise, and in this release the musician continues to develop the conception started in the previous works.
The album begins with a rough ambient deprived of percussion - "Baltic Morrow". You fall down into cold, lead-coloured dark water and start going further and further down, from sunlight cutting here and there through a dark swamp of heavy clouds. The sound wraps you tighter and tighter and by the second track "Longway Railpull" the surface of the sea which covered you disappears and turns out to be forgotten. Along with developing sound textures you can also hear bass drums, as beating oout somebody's pulse. Rustles of old vinyl sound are everywhere, the noise is very soft and... I'd call it viscous, deep, dark...
"To The Temptress" and dynamic beating "Flesh" are rhythmical and logical continuation of the previous tracks, which increases the speed of our moving along dark spaces of that deep sound substance. Coming up to the middle of "Flesh" we have a fantastic feeling as if we got into an impetuous stream which made us rushing at full speed and only "Get Home" coming next is returning us back.
"Snow On Your Bed" is a coming up the surface, unrhythmical ambient, eventually becoming more and more pellucid. We rise up listening to the same rustles of old vinyl and white noise and by the beginning of "Call Up The Silence And See" we can find ourselves on the surface, listening to our impressions from the diving and dissolving in the sound.
- Lagunamuch records