is Gwenn Tremorin's second album as Flint Glass and is based around a
concept. The track titles are all taken from HP Lovecraft works and the
music itself is Tremorin's own interpretation of Lovecraft's writings.
Each track is preceded with a short introductory piece used to link the
various pieces to form a whole. Add to this bonus remixes by some major
players on the experimental/noise scene in the form of Ah Cama-Sotz, Xabec,
This Morn' Omina and Empusae and "Nyarlathotep" holds a lot
of promise. Also worth mentioning is the wonderful artwork, presented
in a glossy foldout multi-panel digipack with wonderful images of ice
Trying to describe Tremorin's work or pinpoint it to a specific genre
is almost impossible as it draws influence from the experimental, tribal,
dark ambient, rhythmic noise and industrial genres (amongst others). His
music is multi-faceted and quite busy but always distinctly dark to the
point of being disturbing. Swirling nightmarish atmosphere, hard (sometimes
tribal) rhythmic beats, weird clicks and noises, deep bass drones and
crackling static noise are all here. Starting out with the serene and
ethereal 'R'Lyeh La Morte', "Nyarlathotep" opens with
a gentle but uneasy sense of foreboding. 'Brain Speaking Machine'
picks up where 'R'Lyeh La Morte' left off but slowly evolves
to introduce disjointed beats fighting for their place through the dense
layers of atmosphere. It is not long before Tremorin increases the pace
by several notches to create an often disturbing but thoroughly fascinating
image of dark sonic devastation. From this point onwards, dark industrial
rhythms and throbbing bass take control, augmented by rumbling demonic
backdrop of epic proportions. 'Nephren-Ka' for example takes
a more tribal industrial route but still maintains an air of impending
doom circling in the background. 'Alhazred' and 'Angular
Space' opt for a similar path but adopt a harder industrial noise
stance, the former adding some crackling distortion for good measure.
The theme continues with the haunting screeches and punishing beats of
'Cthulhu Dawn' and the album finally closes with the tribal rhythms,
ominous scrapes and destructive noise of 'Slither Chaos'.
First to step up for remix duties are Ah Cama-Sotz who take 'Brain
Speaking Machine', enhance it with a slow organic sounding beat and
almost unintelligible ghostly voices, building the rhythmic quality and
urgency of the track as it progresses. Disharmony's 'Germ Code'
remix continues the theme but a slightly lighter mood while Xabec's 'Brain
Speaking Machine' opts for a low rumbling drone before hitting with
a barrage of distorted beats. The This Morn' Omina and Empusae remix of
'R'Lyeh La Morte' is essentially a fusion of all of the other
approaches in one; ethereal laughter, ritualistic tribal industrial beats
and a sense of building anxiety. Of the remixes, Ah Cama-Sotz make an
interesting contribution but This Morn' Omina and Empusae's remix is the
strongest purely because it draws on the best elements of the three other
remixes and condenses them into a single package.