For this album David composed as he recorded, over a period of four days. Each day he layered together baritone guitar and strings, and the length of this then decided the total length of the song, with another three layers then recorded on top. For this he is utilising drone techniques, layering sounds on top of each other in fashion more associated with the different types of bagpipes. The result is something very experimental, daring the listener to either come along for the ride or to turn it off and discover something way more commercial and immediate to listen to. It is certainly something which is not going to be appreciated by everybody, as it is very challenging indeed in many ways. Although here he is creating the original base by using instruments as opposed to just twisting some dials, which means there is an underlying organic acoustic feel to proceedings, it is also very industrial and electronic, and at times pushes the boundaries of what can be considered to be thought of as music in a fashion not too removed from Gridfailure.
This is music for the mind as opposed to the heart, and as Kollar himself says, “I recommend listening to this music alone with your eyes closed from start to finish.” But even those who are interested in understanding Kollar from his work with Steven Wilson will probably find it more of a struggle than a delight, even though I found something strangely compelling within it.