I’m all for expressing yourself and being different, but sometimes the concept is taken a little bit too far. If musician Dirk Dresselhaus wanted to make one of the creepiest records ever made, he’s succeeded. If he wanted to create a mind-blowing electronica/noise record, he isn’t even close to success. To be completely honest, I wouldn’t even consider this an album. If you needed construction noises to play in the background of a movie being filmed in the city, you’d be well prepared. If you were looking for any sort of music, you should look elsewhere.

The first installment is an eerie compilation of horror movie-like jumble. Instantly disturbed by this, the excessive 13 and a half minute song was not appreciated. This unorganized construction site noise is difficult to listen to for that amount of time. It sort of drones on until it’s finally over with, but unfortunately, it’s not over. Five songs still remain. It’s like waking up to a construction crew outside of your house in the early hours of the morning; it’s unwanted.

The next song, “Container,” isn’t really a song at all. Haunting electronic space-like sounds fill the air, as you’re disturbed yet again. The screeching of machines are mellowed out and combined with other various site sounds, which makes you feel like you’re in the midst of Saw or some other awful horror movie being chased by a killer.

Unfortunately, the remaining three installments give off the same exact vibe, with the same delivery. While I understand artists need to express themselves, I can’t seem to figure out how this accomplishes that. Each song sounds like messy noise that ends up hurting your ears. Loud sounds fill the air, the unsettling jumble creeps into your brain, and at the end, you’re still just listening to noise.

In A Word: Unsettling

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