Fluttering tones cruise the periphery, mysterious winged beasts that circle amidst the gigantic footsteps trudging through the sample-laden landscape dripping with desperation. A corrosive underbelly is devoured by piercing tones that sink like fangs into the flesh of Hope, as the footsteps trudge ponderously forward, a leisurely Brontosaurus pace. Swirling noises peak as darkness descends, and when it hits, the mood is fraught with discomfort. The night has fallen, and the night in question has teeth, haunting with a fervent, visceral tenacity.
Axone's first track, "Salvation," through radio static and drones that hover menacingly, highlights a night that is a living thing itself, one of static and dread. When the pulsing beat commences, lunacy seems to tilt the scales toward complete Pandemonium, primeval, gurgling with throaty electronics, simmering with scraping textures as the track ends. "Solution" follows, another long track (both tracks clock in at over fifteen minutes), tides of fluid synths ebb and flow on shores of unease; an extended sample is the centerpiece here, intoned by a bland voice, deals with religion and religious—Christian--perceptions of music (I believe it's David Koresh, as there is a reference to "a station here in Waco" from the speaker) amongst its unhappy observation of the world. A variety of sonic textures follows, sounding like everything from burning embers to watery nuances to percussive reverberations from within the metal barrel.
Clipped piercing tones and raggedly spliced samples of bombastic music introduces kNOw’s first track, "Vaticidal Misoneist," reminding me a bit of Mortar’s similar cut and paste lo-fi manipulations. But, as the track progresses the initial impetus is annihilated by a surging, throbbing wash of noise that batters with monotonous intensity. The track skitters between the two designs, a collage of music snippets and noise in constant turbulence. "Dimensional In(t)di(e)f(v)ference" follows, hiccupping madly, sheathed in a noisy wind tunnel; subdued howl of textures and odd musical inclinations abound. The final two entries from kNOw ("The Grand Inquisitor," "Let This Be A Night Of Deliverance") are more ambient but, that said, they are moody, cinematic (more samples) rather agitated, and no less fascinating (the last track is particularly discomfiting, drenched in weirdness).
Excellent noise/dark sonicscapes that seem intent on warning the listener of the cataclysmic spiritual malaise and misuse of faith that the present bleak age promotes: Here there be monsters, and they come in the most deceitfully common, human guises.