Based on one of the final works of Carl Jung where the alchemical informed psychology, Uruk’s second outing is another psychological pleasure for the headphonically inclined.
Slow, crafted atmospheres that dramatically paint, esoterically etch a game of two halves where “Spagyria”’s sculpted depths have a salacious lick of cosmical about them. Thighpaulsandra and Massimo Pupillo bathe you in a rotisserie of undulating drone as it whir-wizards you into its subsonic heart of folding gravities and sycamoring cyphers, chemically kilting transits ornately cutting into symphonic vanish points.
Tardis-like scrapes in the continuum, rebelliously rolled, Gilgamesh glinting in choral loops and swirling time-lapse. The duo dexterously dicing, shifting the energy around in teasing texturals, a majestic magnetism that seventeen minutes in parabolically puckers to a shadowy centrifuge of dying motors and scarring laser. The second offering, “Solve Et Coagula”, is more weathered. A scribble of sonic crows break overhead to a pulsing chord and distempered wing. A minimalised bassline backboning a broken mechanism as textures are eerily backcombed, tetse-flied out of existence. A strange dissipation is palette-knifed in a Edgar Froese-like rot of expansive arcs and yawns, then horrorised in a swarm of hungry mandibles. Grainy tensives that fountain forth, chaff your mind’s eye like Jean Dubuffet‘s “Ecstasy in the Sky” to decay in soft tubulars, as if Ron Geesin’s chorales on Pink Floyd‘s Atom Heart Mother have been re-purposed in hydraulic chunts of cybernetics, dying out on owly bowtrails.Thighpaulsandra and Pupillo have conjured something that lapis-lazulis your imagination with eerie possibility on Mysterium Coniunctionis.
-Michael Rodham-Heaps-
