GREYGHOST remains near-silent for the duration of the album. The flourishes used are understated. Everything involves a slight touch. Melodies evolve slowly. With the low volume means there is a lot going on beneath the surface. Putting the volume up does not change this fact or clarify things. Listening to this in a quiet environment is necessary. Fragments of melodies weave their way into the ever calm drones. These feel almost tangible with their usage of environment noises, snaps, and other common sounds. Due to the intense focus on a meditative sound it manages to become extremely focused. This explores every nook and cranny of small sounds.
‘Purple Dye #5’ begins this quiet attention. Only by the very end of the piece is there a large focus on the lower end, resulting in almost a bass line. Otherwise the sound continues to ebb and flow into infinity. ‘Nectar of the Eastern Gods’ manages to bring to mind the best of Zoviet France in its Eastern-tinged drone. The sound barely raises its voice. Rather there are small amounts of distortion. ‘Flowing Spirit Jar’ is by far the best track on the whole album. Managing to bring together the subtly of Stars of the Lid meets early Terre Thaemlitz. There’s a mixture between the calm and slight neurotic that makes it really engrossing. Putting the two together creates a seemingly giant space.
Overall this is rather pretty release. Despite the lack of adornment there’s a natural loveliness like that found in the closer ‘Beyond the Black Field’. Thanks to its low key approach it manages to succeed wonderfully.