Five pieces are comprised in the disc, the duration not exceeding the limit of ten minutes. They make the time flow quite fast, given the numerous invitations to scrutiny during their unfolding. Nehil applies restraint and congruity as not many comparable composers are able to; he places a percussive incident right before or after the extended tones of something appearing as spectra of processed ringing metals, mixing the elements with customary attention amidst the tiny granules of a rustling vulnerability. Urban flavours were definitely used – unobtrusively, never overwhelmingly. The inexactitude of certain frail reverberations is perceived as an ideal dressing to happenings that stimulate and confound rather than affirming an explicit point of view.
According to that logic, the most absorbing chapter is “Swarm”, in which human voices (one of the record’s very few recognizable constituents) are utilized in puzzlingly anomalous fashion: short phonemes (say, “Hoo”, “Hey”, “Ha”, arranged in slightly out-of-phase mode) seem to depict a condition of precariousness, hesitation expressed by developed creatures arrived on the scene of existence with huge delay. Like the testing of an echo, in a way, or a hopeless call to check if someone responds even if the eyes aren’t seeing anything in proximity. It’s a strange, fascinating moment that beautifully complements the fleeting mirages of this acoustic microcosm. Those who loved the preceding release will not want to miss this, which keeps showing various unopened doors leading to inexplicable discoveries.