We start on a distressing note; the opening track “Iron Goddess” offers seven minutes of annoying droning noise. I’ve never discovered who listens to that sort of thing, or what its purpose might be, other than giving teens a method of annoying their Parental Units. Once clear of this questionable artistic decision, the rest of “Goddess” sounds quite pleasant. “Swamps” takes us to a reverb heavy set of crickets and bird calls. Then it’s off to some simple, identifiable melodic touches of woody chime, a synthetic forester bird calls, and some low budget synthesizer effects predominate. “Chimes” attack, and then “Burst” defends. We bob. We weave. We emulate a digital boxing match, forced to pick a side from an amorphous blob of sound with no sharp edges. “Deep Mines” might be an organist tuning his charge while “Shining” tries to be a sci-fi fantasy battle scene. The chaos berates us like the gamma rays berated Hiroshima, and to much the same effect. “Unrealality” closes this journey past the minds eye.
I cannot, in good faith, summarize the purpose here, only the result. It’s the sonic attack Hawkwind threatened us with, only survivable. It’s more interesting than most ambient compositions, yet never intrudes into a hazy day dream.