Sirona-Records

Covolux – Paris // NMMREM XIV

As marketed for workplaces as a background music in an work environment

Covolux’s Paris is an ambient release which is most suitable for light office work with little to mediocre background noise. The test subjects found this release most worthwhile while listening as a background music two to three times a day. Positive aspect of this release is also that the listener does not need a good sound system to enjoy it, the sound flows nicely enough from laptop speakers and provides a rich soundscape for concentration. Beautiful melodies flow on but only rarely fully consume the listeners attention (electric shock devices to prevent this from occurring can be bought at a discount from our store).

The legend of certain ambient noise boosting the effectiveness of work is definitely not untrue with this release. 80 out of 100 test subjects from the extremely picky group concluded that Paris is good concentration music and also sets up the mood for work with beautiful ambient tones keeping the mind light and intact. Just where you as a corporate businessman want your workers mind to be. We at Sirona-Records are permanently offering all our releases for free, so you and your massive corporation can boost your work-effectiveness for free! Forever!

Download for free: http://archive.org/details/siro170Covolux-Paris

Meklabor – Raw Reeds // NMMREM XIII

Very black metal

Meklabor’s is yet another interesting artist from Russia who is also involved in the martial & dark folk projekt Ostov. He states himself that Meklabor is bagpipe music with hardware-made ambient, distorted drums and drones. Certainly a very unusual combo for a Russian artist who says to be inspired by slavonic folk traditions! Judging by this release the inspiration doesn’t stop in folk but goes deeper from folk straight into mystical terrains.

Meklabor’s Raw Reeds serves as an intro that could well be based on a sludge record. Based on this, it would be too easy to just entitle this record Meklabore. The second song Fields already proves this wrong with odd rhythm and a fine melody with a… Bagpipe? A definite !?! upon the first listen. The sounds aren’t top notch, for example the record would agree with a deeper and more organic bass sounds; somehow the sounds lack the final punch. The third, Bessarabaska continues the interesting experiment comprising an Alamaailman Vasarat-like klezmer-melody and applies a discobeat later. I still might not play this at a summer fest.

After three first tracks peak to a mildly annoying hippie-klezmerfest At The Gates, suddendly things go down the drain to dark ambient. Salamandra (Oil Edit) is mighty convincing dark ambient, but it is absolutely in the wrong place for the average Johns and Jacquelines. Bad trip, man. Multinational corporations in their oil-greed did this, man.

Salamandra does mark an imaginary B-side mark though, the following Thousand Years Beyond Kaspia continues the surprising industrial touch that Salamandra hints towards. Best of all Meklabor seems to be very natural with their industrial-side! The illusion breaks at 0.40 with, a very original, Meklaborish melody, but the industrial beat continues to throb on top of this mystic melody. After a month I somehow find myself thrilled by this melody though it didn’t impress me initially and it does repeat too much. I would have definitely lived without the 1.43 trance-interlude too

Haze is a bagpipe song and impresses less than its predecessors. Largely that is because its driven by another very Meklaborish melody, which you have just listened for 20 minutes; and for me this melody is the worst of the record. It does try and I feel the hook at 2.40 and 4.00 would be a memorable one, if only the melody wasn’t off my game. So unfortunately the album closes up in less memorable fashion than it started.

In the end Fields and Thousand Years Beyond Kaspia are the top cuts in the album, reclaiming the potential that other tracks only hint towards. The soundscapes in Raw Reeds are possibly more interesting than the melodies. There are lots of unique clever beat work and low-bass sections which throb in the back and may go unnoticed but still add in to the atmosphere. Also kudos to Meklabor for having the second edition of Salamandra as a clear bonus track.

Raw reeds encompasses a mystical atmosphere which adds to the value, it could be a swan song for a culture that never existed with its own glyphs, prophecies and gods. Music impresses and at the same time fails to capture its utmost potential. Still a very worthy release that surely people with an ear towards mystical ambiance and modern beats can appreciate!

7½/10

Free download: http://archive.org/details/siro318Meklabor-RawReeds

Avs_Silvester – Mansipal’s Heaven // NMMREM XII

Avs_silvester is a Russian artist with lots of interesting concepts for albums, for example the “Periodic Table of Sounds”. His new album or actually a compilation of old tracks is stated as Fusion, Progressive, ethno-rock with a very interesting concept.

“Mansipal – the historical name of the east Ural Mountains in the language of the native Finno-Ugric people of Mansi (Voguls).  Mansi World is divided into three parts – lower, middle and upper world. The heaven is also divided into three tiers, one of which goes after the death one of the five souls of man.

The album – a compilation of tracks from different years – sending you on a journey through the three parts of this world.”

Sounds just like my cup of tea, but surely a very tough concept to pull out as well. Not every Average Joe is the next Omar Rodriguez or John Lennon, but it certainly doesn’t stop some people from trying. And it certainly shouldn’t stop people from trying. In essence that is a good thing, but when they try to form up creations like professional composers; sometimes physically challenged babies like Mansipal’s Heaven come up. It is supposed to be Progressive ethno-rock. But it is not really progressive, it is random. It is pretty ethnic, but it is mostly not rock at all. It should be classified as experimental or improvisational guitar jam.

How many people really want to hear improvisational guitar jams of the greatest guitarists in the world? Hand to the heart, how many of you would like to hear an improvisational guitar jam of a mediocre layman guitarist with rather bad sounds? This is ultimately what Mansipal’s Heaven is. The guitar lines have a lot of glitches and mistakes. This could still be acceptable if the songs were good. You can hear there are compositions behind but mostly it seems the tracks are a mashup of certain guitar elements which are repeated in random places in – semi-similar to not similar at all – forms. In theory this could be a pretty ingenious way for making songs if those guitar elements just happened to not be mostly awkward and the placings had more style and pattern.

Many songs do have pleasant background ambience, for example Wind in the gorge, Music of silver and suitably named This strange autumn. Hell the chorus of This strange autumn is even catchy. Guitars are incoherent, but not as much as in most of the album. This marks the main problem and specialty of Avs Silvester. For example the title track seems to consist almost solely on guitar layers seemingly in not much contact with each other, drumming or keyboards. All forming different entities and playing on top of each other. When I release songs like this, I call them experimental or shitcore, not progressive. After an incoherent jamfest like Mansipal’s Heaven, This strange autumn sounds clear as a winter day when in earnest, it is a mess with a melody that when worked on could be very good.

The closest thing to a stable track is Mansipal’s heaven 2008 as it builds up nicely, in real standards mediocrely, the build up gets boring and the melodies never top the beginnings touch, but hey at least this time the track never went berserk! 2009 and 2010 versions of the same track encompass a less minimal approach with more guitar layers which ultimately means worse. Again the main riff really is not too bad (like in Fatal Chainsaw Massacre), if it just didn’t lead to a rather worthless improvisation after each repeat. Often less is more.

Most of the album feels like watching Journey Into Bliss on and on again, the shared sense of shame is always there. Maybe with some doses of mescaline this’d be a good trip with lots of laughing but with a clear mind it just boggling. The luck is, I’m a person having a liking in shitty and random music, so listening was in the end quite enjoyable, after getting through the disappointment of this not being a good album. But for any real music critic I can well believe this release effecting the tearing out of hair.

And hey, calling improvisational guitar jam progressive ethno-rock is just underrating the listener. If I’d known Mansipal’s Heaven to be a guitar jam I most likely wouldn’t have listened it at all – completely missing out the worst progressive rock album that I’ve ever heard! An eye opening release in a different way than expected.

Musicality: 2/10

Randomness: 9/10

Entertainment: 7/10

Free download: http://archive.org/details/siro484Avs_silvester-MansipalsHeaven

Psycho Mum – Riff Rough // NMMREM XI

Psycho Mum, an artist I genuinely have no idea about and a musician of genres which I loathe (Rave, “ugh” / Disco, “UGHH!” / Break, “just add in core please”). Being the first experimental review for Narrow-Minded Metalhead, this was certainly a good shock factor to start :). Anyway, Psycho Mum is todays reviewed release; sponsored by http://www.random.org.

The cover of the album looks ugly and cheap. Looks like a 2 minute paint work. So it made me expect something intentionally shitty. However the title track Riff Rough turns out to be a surprisingly interesting abstract and psychedelic track with a lo-fi vibe. So lo-fi is where the cover art hints to? Makes some sense.

The song starts out slowly and progresses first to an odd (I like oddness) psychedelic beeping (I like psychedelia and beeping) noise (and most of all I like noise). This is soon layered with a psychedelic beat. This progress steadily with a cool surprising, though a bit cheap sounding effects, coming in here and there quite melodically.

The song grows up nicely, and after multiple listens the seemingly random breaks can better be appreciated as well. I’m sure this would work great with fitting visuals. Odd sounds popping in from here and there add more flavour.

In the 2nd track. The beginning beats underline my loath for rave, two different deep bass-driven beats which sound to belong to a club, which I would not attend without an excess amount of beer. The pussy-sounding voice saying “Satan” is quite funny and very random, but more interesting is the nearly random beeping. The track underlines why im not a terrific fan of rave music. It gets boring even though there is stuff happening and variation.

As a release one song and one remix of the same song is a bit too little, though I must say the remix doesn’t really sound like the original at all, which is a good thing especially as it seems disco and rave are fitted to the second track and the first compasses of psychedelia and break. I do not get a huge interest in repeating the tracks once I got done with the first crush.

Nothing mind-blowing here, but the release did rise my interest factor for a short while. Not an attention grabber after the first listens, but the first track does hold up listening well. The release could be interesting for you if the two previously mentioned big UGH’s are your cup of tea. For me, I rather stay on my normal tea and keep looking for the first rave song to dig.

5½/10

Free Download: http://www.archive.org/details/siro030PsychoMum-RiffRough

Playing with Nuns – 1805 // NMMREM X

God knows how manyth split of Playing with Nuns, 1805 is named after Mary Nuns, an infamous woman born in 1805 and also by one of the base books of nunnerism “The nuns of the desert, or, The woodland witches”, released in 1805. No really im just shitting you. The nuns of the desert is a rather hilarious title of a book anyway.

Playing With Nuns is a noise/experimental artist hailing from Argentina and like previously mentioned, he has made over a hundred splits, cd-r’s and webreleases in just a few years. Of these releases my favourites include 4-way split “Origami Chupacabras”, Cd-r “North Korea in 5 minutes” and another Cd-r “Horse surgery”. I’m actually shitting you again, I’ve never listened to any of these but you must agree that the names of the splits are entertaining.
Time for your own thoughts

Time for your own thoughts by maxon / HBC

by maxon / HBC
From this baseline I placed 1805 to my record player, alas an mp3 in foobar2000 audio player v.1.1.8, a basic drag and drop manouver in between the artists Plain Ride and PMMP. Head-on collision with a soundwave is the easiest description of the beginnings of the first track, “The consequences of a chain reaction”. Huge soundwave some harsh noise but overall a more pleasant sort; I find myself not getting petrified by it, no matter where I am. My most enjoyable moment with this release is 3 am at lan party, where it worked well as seclusing myself out of this world.

The consequences of a chain reaction has an almost metal interlude at 10:05 with lovely bass-soundwave bursting in. But then continues mostly the same except for some entertaining oddities, for example mechanics at 13.00 which; if made by the British Death Metal band Carcass; could be titled “Chainsaw & Circular Saw Macabration of Mutes”.

1805, the title track, is considerably more soft, mostly half-way gentle glitching harsh noise. The end of it advances to Rainbosws (name dropping an obscure artist you haven’t heard about) like glitching pleasant sound. Almost like water pouring outside and dribbling against the glasses. After two different tracks the fittingly named “One more to annoy you” closes the album like it started.

For a harsh noise release based on mostly just white noise 1805 has some interesting variation, but lacks originality. With some track notes and linear specifications of the tracks and or themes, harsh noise tracks such as these would be far more interesting. If there is any? Is there ever, really?

I Like noise, most of it is entertaining to listen for one or two times when you don’t know what is behind the next hill of the voyage. After that many noise albums tend to lose much of their initial interest, if they aren’t filled with nuances. Playing with Nuns – 1805 is one of those albums though I can imagine listening two thirds of it from time to time when in need of seclusion and concentration; and ordinary music isn’t doing it.

Download Playing with Nuns – 1805 for free here: http://archive.org/details/siro274PlayingWithNuns-1805

John 3:16 – Sinner’s Prayer // NMMREM VIII

Narrow-minded Metalhead reviews experimental music – VIII

[Siro247] John 3:16 – Sinner’s Prayer

Hu Creix vs John 3:16 – Ambient Double Header

Introduction

I am starting to believe that the hardest music to make successfully is ambient. Just think about it, music that is minimalistic and repetetive, and you have to craft it to be interesting.

In this double header I am taking a look on two Ambient releases. In this review: John 3:16 – Sinner’s Prayer and in the first part Hu Creix – The Present Forward. Both artists quite succeed in this trade, both with a fine release, but in the end fall in the same loophole. What is it? LENGTH.

John 3:16 – Sinner’s Prayer

The release is best described as Psychedelic gospel ambient and hell, is this quite a mixture! Very original sound with surprising heaviness, chilly yet chilling soundwaves and odd vocal samples.

John 3:16 release is only 22 minute long, but has the same problem as Hu Creix’s The Present Forward – in a minor scale. The first track, Eternal Sin Offering, lasts 16 minutes and is a bliss for the first 7 or so minutes, but for the last 8-9 minutes it closes in and for the listener, becomes more minimalistic. At the same time the track has a long  speech sample going on, but it is only vaguely hearable and thus doesn’t really grow to its full potential; lacking a clear message or something to grasp in the speech. It is everything but bad. But it just doesn’t have the same effect than wave-like transforming first half. Again, this track could really have been split up into two parts…

Did anyone mention Twin Peaks? Fortunately, the second track has an awestrucking Lynch-esque start. Nearly dropped me out of my chair. It is a remix and I don’t know how much it borrows from the original Fluid song, but the melody is something i would love to hear in a great movie.

Conclusion

Both artists definitely know how to spice up slowly transforming songs by adding new interesting sounds. But when it comes to full songs, they only have a couple songs that are spot on and without a significant weak spot. Albums that have a lot of merit but in the end work best cropped.

Overall score: 8-/10

The album is free to download at: http://archive.org/details/siro247John316-SinnersPrayer

Hu Creix – The Present Forward // NMMREM VII

Narrow-minded Metalhead reviews experimental music – VII

[Siro229] Hu Creix – The Present Forward (Sirona Edition)

Hu Creix vs John 3:16 – Ambient Double Header

Introduction

I am starting to believe that the hardest music to make successfully is ambient. Just think about it, music that is minimalistic and repetetive, and you have to craft it to be interesting.

In this double header I am taking a look on two Ambient releases. In this review: Hu Creix – The Present Forward and later on: John 3:16 – Sinner’s Prayer. Both artists quite succeed in this trade, both with a fine release, but in the end fall in the same loophole. What is it? LENGTH.

Hu Creix – The Present Forward


Hu Creix’s The Present Forward clocks over 90 minutes. 90 minutes! Are you kidding me? After about 10+ listens I’ve gotten to a point where i love the first 26 minutes but after that get carried away and stop noticing the music.

By sense it is because the best 3 tracks The Detuned Awakening, Artist and One Thrill are placed as 2nd, 3rd and 4th. The next track I derailed is still interesting, especally because it has a major old-Scorn-like vibe (the Evanescence era). But the extremely repetitive Voodoo Bride and Dancing Fish are quite a fall. Having Voodoo Bride in two different versions, clocking over 20 minutes in one release doesn’t feel like a good move for me.

However the best three tracks mix ambient, odd electronics and saxophone in a wonderful sense, making Hu Creix at best comparable to the Doom Jazz giant Bohren & Der Club of Gore. Something which can be transferred to two words. IMMENSE POTENTIAL. Somehow One Thrill manages to work great even without saxophone, with the help of an exciting tom-tom -drumbeat.

The record picks up its jazz roots in Lazy Shark and somehow manages to transfer it to sinister yet soothing trip-hop beat; crafting another fantastic event. However the ending is a trinity that resembles I derailed in quality, but falls slightly under it. Interesting, but not superb (and unfortunately also without the Scorn-nostalgy)

Im anxiously awaiting the time when all these good underground musicians stop to think before they release all their efforts in one packet. The Present Forward could have been divided in 2 packets, by easily just naming one part I and other part II. Now this 90 minute slab is just too repetitive and long to be fully enjoyed at one go. Unless you want fine sounds to turn into elevator music. That’s not really whats supposed to happen.

A release that manifests on listeners patience but can also provide immediate ambience; “filling up jagged spaces”. Grows on time and certainly takes more than a few listens to completely open up. After digesting and excavating the sounds, some tracks grow but some lack the growth factor and end up on skipping wire. An enjoyable release packed with a lamentably common remark: “could have been a lot better”.

Overall score: 7½-/10

The album is free to download at: http://archive.org/details/siro229HuCreix-ThePresentForwardsironaEdition

Alex Spalding – Amos In Flames // NMMREM IV

Narrow-minded Metalhead reviews experimental music – IV

[Siro177] Alex Spalding – Amos In Flames
R-3785305-1344323893-8044.jpeg
A few months ago I noted quite a lot of cheers and satisfied listeners of Alex Spalding’s effort Amos in Flames, which is why I decided to give it a real chance. Alex Spalding is the owner of the label Noise-Joy and has been actively releasing albums and committing to the underground music scene since 2006.

First impression, the refreshing cover art, gives Amos In Flames a headstart. Amos in flames equips my favourite kind of underground cover style, a blurry image. To make things better, the image is stylishly topped with cool oldschool font and lines.

It is only natural that also the music impresses instantly. Amos in Flames is quite a varied album and gets an ambient and promising start in Golden Ships, followed by oddly shortly ending, but extremely pretty, Funeral Flowers which leaves you hungring for more. Turns out this track seems to shape out much of the album in an unfortunate way. Many tracks, for example Succor and In Essence seem to either end too soon or sound like sketches in need of a few more layers. And amongst them there are a few jewels which sound a lot more ready than the rest.

My clear personal favourite is the 4th track, Glimmer. It is packed with an hypnotic beat and excellent varying ambience making its 6 minute length feel like 3 minutes. It would be a perfect track for a demo (demoscene, “non-interactive multimedia presentation made within the computer”).

After the wonderful first 4 tracks Bluelids / Breaking Apart isnt a worthy successor and Succor, while having interesting variety and a beautiful background melody sounds like an unfinished track. It could become a fine one if worked on though.

Disappointing and and in essence are made of similar fruity loops -reminding sound and not much happening under an okayish background. Where did all that glimmer go so soon? Amongst the way to the end, Crushing Spirit brings more bread to the table with a danceable rhythm, making the biggest peak in the “just ok” mid-album 25 minutes.

Just when you think the record has said everything, the 13th track Nazca flows into psychedelic oddbeat. The track starts off with dreamlike enticing ambience and turns on a wicked and odd beat, giving you some examples what Alex Spalding can do when he is on his game. Unfortunately unlike Glimmer the beat doesn’t hold its ground and lingers along a bit too much (probably cause its odd and when you’ve listened to for a while it stops being odd and loses catchiness), making this track good instead of great.

Following its name the 15th and last track 5th Cup – Divinorum has an extremely druggy feel. Starting a buildup it sets out its ground ready to explode… But instead keeps tripping up and down on acid and turning up new melodies and oddness. As a sistertrack to Nazca it closes up the album in a memorable manner.

All in all Amos in flames is an interesting piece of work and if you can find your way through all sketch-like tracks it delivers some fine nighttime music. With more self-criticism, it could have been an excellent ep. Had Alex Spalding read my mind and only released the 7 clearly better songs Amos In Flames would surely be a contender for my top 10 albums of 2011.

Overall score: 7½/10

Download the release: http://www.archive.org/details/siro177AlexSpalding-AmosInFlames

V3Rb tH3 N0un – Th3 dUbsT3p d3m0 // NMMREM III

Narrow-minded Metalhead reviews experimental music – III
[Siro187] V3Rb tH3 N0un – Th3 dUbsT3p d3m0

My First Wub Wub Re cord/view

I’ve never dag deeper on dubstep except a few uninteresting tracks, Scorn’s majestic Stealth -album and occasional Skrillex track (from which Scatta is the only one that i’ve listened outside of beer-infused-moments).

However lately, from a reliable source, I came to realize there indeed are a few categories!

Take a look: http://www.explosm.net/db/files/Comics/Rob/intervention.png

The actual review record The Dubstep demo falls heavily to the wub wub category. And that is just fine as it is where Scorn belongs too. First thing that cames to my mind after encountering the record is why sane people still use numbers in their titles? It does not look cool for people 15+, in fact, vice versa. Secondly, the cover photo is pretty damn cool. A bit 2000s (probably cause of the paint shop pro reminding text) but cool, glitchy. Love it.

The beginning of the first, rather randomly named track, dooF esenihC, gives an image that the music is produced better than it actually is. Anyway promising beginning, but after a while it becomes obvious this basic beat isn’t going to hold for a long time. The drop lacks the unexpectedness and doesn’t fill the soundvoid like a supreme drop is supposed to. Varying background noises don’t make it significantly better (even though they are much more interesting than the drop itself), nor do the dapdapdap dabadada breaks. Thank god the track progresses into a nintendo-like intermission at 3 minute mark because the constant repetition makes it drag badly. Much more interesting. Then we “progress” back to the oh-so-boring wubwub drop. Allright, brains off.

My brains turn back on itself as the second track type03, inflates me with some Scorn-like darkstep sounds. So much better! Atmospheric. Unfortunately the track takes a hippier aspect with the 1 minute break. Then on comes the next break, furthering the downward spiral into another less interesting part. The package ends like it started, only now it sounds uninteresting and off-place. The structure of the song is in need of serious finetuning.

Third track is finally something fresh! Hungryshima is CHAOTIC with lots of breakcore edge and filled with cool noises and distinctive melodies! First part ends to a rather sick random break. This drop has so much more than the previous. OUCH THE TREBLE! Not dubstep for the masses thats for sure but for a noisehead this is pretty amazing. The end is absolutely sick too. Maybe a bit more volume-balancing should have been done with the obscure sounds? When listening this with headphones it is generally advised to turn the sound down so the trebles won’t bust your eardrums.

On the next track, dubstep with a mario clip, the perverse chaotism of Hungryshima is long gone. This track takes a a basic wub-wub approach, sounding unfinished. Same goes for the last track, which has nothing more than an interesting title. It is just screaming for some proper south london grime vocals. At least it made me google the genre grime to see what the hell it is.

All in all, the release has a feel of being “my-first-dubstep-record” as it delivers a very random package and odd unfinished tracks. Thus the name “Dubstep demo” suits it well and you can’t really expect the quality of a normal ep from a demo.

I have no will to put most of the tracks on my playlist but the throughoutly entertaining Hungryshima is for sure going to visit it regularly. If I have to pick a throughoutly mediocre release or mostly uninteresting release with one great track, I’ll pick the latter any time.

Overall score: 5+/10

Download the release: http://www.archive.org/details/siro187V3rbTh3N0un-Th3Dubst3pD3m0

Golden Cloud & O.S.I.S. – Split // NMMREM I

Narrow-minded Metalhead reviews experimental music – I
[Siro195] Golden Cloud & O.S.I.S. – Split

An emotional drone/ambient/dark ambient release by a Polish artist Golden Cloud and Swedish O.S.I.S., whose other projects include for example The Musk-rat Cult. Luckily the savvy title “Split” doesn’t indicate that the music suffers from a lack of imagination. Both tracks succeed well in creating a specific atmosphere, but unfortunately for a listener wanting a full journey rather than individual listens, there is a big gap between the two counterparts.

Starting Golden Cloud track Clearlight flows brilliantly combining ambient with a steady bass beat. The ambient flows between noise and melody so effortlessly it has a severe relaxing effect. On first listen it even promises to become a vast explosion into brightness, but it never reaches that. Listening further I become quite satisfied that it doesn’t have a genuine peak, its strength is the flow and the balance.

Some of the peaks for me are the 12 minute 20 second pleasant noise waves electrofying and fastening and the ambient in the end which almost transforms into a distinctive melody but stays distant enough to not quite reach you. The constantly varying background noise produces many similar satisfying effects and keeps you alert the whole time. Strongly recommended for headphone listening while falling asleep and strongly not recommended for hitting the freeway on a 70s’ bus.

The O.S.I.S. Trismegistus, doesn’t reach the emotions or beautiful melodies Clearlight does. On the other hand it isn’t supposed to as it weaves it’s path with grim atmosphere instead of brightness thus being a lot harder to listen upon. Also very hard to review as i’ve never liked too gloomy pc-games, and this kind of silent hill-esque horrorsound reminds me of just those. Very psychotic, has even a small background melody among the drone/dark ambient wall, but it doesn’t blossom, being more of a murky wind chime. The track nears harsh noise but even more it is pure horror.

It’s name Trismegistus is likely taken from the ancient Greek god Hermes Trismegistus who lead souls into afterlife. The O.S.I.S interpretation hints that the afterlife isn’t a very pleasant place, or at least the way there is murky. If you feel like trying having a crack at your future afterlife (before it hits you) or just enjoy hellish tortures in general Trismegistus might be your kind of thing.

As stated previously, the split is pretty hard to listen in one go as it really turns out two sides of a coin. Clearlight is a bright track and Trismegistus a dark voyage. However both have enough length to be long enough listens on their own.

Overall score: 8/10

Download the release: http://www.archive.org/details/siro195GoldenCloudO.s.i.s.-Split