There is nothing here.
You can read that sentence several times, even backwards. Then you can see to other things.
This recording starts when you press play and ends exactly 40 minutes and 46 seconds afterwards but these two moments hold no symbolic value apart from that they take place 40 minutes and 46 seconds one after the other.
The mechanical distorsion of the air molecules, originating from this recording in the timespan of 40 minutes and 46 seconds is perceived by the human being through the sence of hearing as sound. Because of reasons not yet clearly identified, some individuals may go as far as percepting this distorsion as a form of music, in the form of modern western culture rock music to be exact. Others seem to feel the distorsion as noise, which is generally defined as an unwanted, accidental sound that has qualities in the field of tiring, disturbing, frightening etc.
Atributes imposed by one’s self on the sound recorded herein however, do not affect in any ay a clear logical analysis. The tone of the instruments is muffled up, as if resonating from a basement or even better, a coffin in a basement, with the listener desperately trying to make things out from behind a massive blackwood door with iron elements. There is also a lot of distorsion present, especially in the bass guitar and drum kit, which has been obtained experimentally by playing too loud over a weak recording device. There is also a very vivid image regarding the bass guitar that sounds almost as the sight of maggots tunneling close to the soil’s surface. Ocasionally a musical instrument will produce a brighter tone, a good example being at 23 minutes and 55 seconds from the beggining of the recording.
Besides the standard rock group quartet of two electric guitars, one bass guitar and a drum kit, numerous other sounds of unknown source fill the background, their origin being too much of a wild guess to be worth mentioning here.
Rhythmically there can be observed a strong tendency in alternating disorder with breakdowns into silence and groove, with a total lack of structuring the information in any kind of force patterns (if the insertion of a personal note is allowed, I have found myself in many moments holding the time by slapping my thighs with my palms and stomping the ground with my heels, while executing slight noddings of my neck; this statement being here to serve as evidence that rhythm does exist in its most traditional form in spite of the aparent chaos).
Thematically, the album presents a quite romantic contemporary vision of the world’s genesis and end, as depicted in sumerian and akkadian mythology, in a manner different for what is comonly understood through the verb “to sing”, the present vocalist acting in way closer to a crysis of schizofrenia rather than performing, his act utilising a complete spectrum of frequency, tone and volume, seemingly random (again, an apparent randomness).
A through understanding of this recording should be made by the use of the physics chaos theory, rather than through comparison with other forms of human artistical expression.
I’m not giving this album a rating because it’s so fucking cool and original it tears everything from rating systems to ear drums down.
