"Essential Death" turns out to be the longer opus featured in this CD. It utilizes obsessive bass lines, keeping drums in the limelight, and adding ghosts' whispers as well as beggings towards an unknown reciver to die; finally, frightening sounds are tacked on the Black Thrash Metal tissue. You will really feel like being thrown into a state of exaggerated anxiety and discomfort; you will surely feel lots of fatigue to stand all of that sadistic chaos and insanity until the final. If objects start moving by themselves or other strange unexplained events will occur in your place, don't be surprised!
The slowing down makes your blood freeze and the guitar weaves inhuman rhythmic changes until the keyboards close everything as if you were Alice in Wonderland on acid in hell.
"Santalum" is again fast Black Metal including incomprehensible vocals and noises somewhat similar to the distorted, feeble jammed ones sent from a space base to earth. Only in the last seconds does the guitar become slower but that's just for a short while before the ultimate acceleration.
I've been trying to define "Realization Of Regress" many times without success, yet today it happens to be framed into a category finally: it is a mongrel between Sunn O ))), Scorn and a Satanic mass tune.
Unexpectedly, "Reflexes Program" makes me think of some mid-90s Napalm Death Industrial remix, to then turn into a sort of Industrial Black Metal with disturbed voices recurring to a main riff sucking everything into its vortex like a black hole does. It's worth emphasizing that the drums seem human and not programmed and also that the finalè is cut and that leaves us unsatisfied.
"The Quiet Room" is Marduk-like together with terrifying vocals, very rapid beats and bass thumping. All of this creates paroxysm going well beyond Naked City and Painkiller put together.
The Black Metal of "Infinite Colonization" uses fatter sounds, keys from a funeral march accelerated so that they're even bantering the Grim Reaper. The general feeling is the one of being engulfed by an invisible layer of negativity as black as pitch and as demented as a madhouse ward. Awesome is the end with lugubrious keys, unfortunately once again abruptly interrupted. It is a pity that the editing hasn't been taken care of properly and this is the second time that a song has been ruined in this unprofessional way.
"Mysore's Cocoon" comes across as another chip of unpolished Black Metal awash in possessed shrieks not so distant from the above-cited "Spruce And Cedarwood", whereas "Bioengineering Collapse" comprises 5 minutes of Noise alternated with freezing harsh Black Metal sometimes Progressive, where the keys go solo when their goal isn't scaring the shit out of your pants. The guitar produces a vast array of riffs all of the time (tribal, Nu Metal, Black Metal), while the vocals are absent, replaceed by menacing metallic breaths.
First "None", a CME's cover, is Black Metal employing an almost harmless guitar, with that it ends up coming to be a nightmare when different types of hell incarnate vocals appear in all of their lust and wickedness. It is also very interesting to notice that this track later shows screams/growls close to Cryptopsy's Lord Worm, which are subject to vocal effects in the last seconds.
Without any silence pause begins "Outro", a really brief musical creation, which is simply based upon vampiric keys and contains just two cymbal strokes.

This is not an album meant to be heard in the background, nor is it an attack Black metal one, although ferocious minutes of that are present, too. Indeed, these experimental and often strange 69 minutes were conceived to destabilize, scare and give you an insane sense of satisfaction you wouldn't expect from yourselves, just like the dreadful beastly artwork hints.
For those who will be able to understand it, this album will be deemed a symbiotic masterpiece from two geniuses.