Glimpses of the likes of Front 242, very avant garde electro and ambient, not sure about the film part, as it sounds much too forward. If you put some of this music on a soundtrack, it’s so strong it would be during the credits as anywhere else. Although I could easily see a lot of this stuff making indie computer game soundtracks or fine art installations, as it’s got the right tempo, atmosphere and strange spirit, not to mention an orchestra approach and a desire to play about however and with whatever it damn well pleases.

“Chrysalid World” is steady in its reflective self sounding off like an alien alarm. “Magnet” raises the stakes with a Front 242 style industrial beat under a jittery keyboard jig. “Oceanic Terminal” is rather ghostly in its treble but is reminiscent of both hip-hop and 8-bit sounds and weirdly engrossing. “Possession” glides left and right with haunting highs and distorted ziplines of beats. “Parasitic Noise Extasy” lets some computer game influences shine through as it swings up and down while still having fun and doing arcane arm movements. Real energy shines through.

“Orphaned” brings in the strings for something of a Dickensian feel to it all while “Rapture” isn’t exactly roaring with joy, but it is rather content to remain level headed and has a sense of Zen to its loops. “Convulse” takes a malevolent edge that’s as subtle as a katana while trashing like a Noise band getting into full swing. “Nude With a Cross” is a very Noisy thing, experimenting with oriental sounds as it flicks chords with careful precision and has all the bombast of a brass section of an orchestra.

“Dunkler Frühling” acts lonely for the artistic merit of the mood, but does remember that it’s an electronic sound so acts accordingly. “Fleur D’Angoisse” is very cheerful and energetic. “Parasomniac Soundscapes” is much more serious and does take on a machine-like rhythm to its beats. “Unknown Forms” looks inwards for its ethereal form. “Antichambre” is very strange, relying on high placed sounds as it really lets itself go. “Syntax of Pain” creaks like a machine in need of oil and brings the fiddles to the fore.

“Schizophonia” has some very nice backing vocals and once those are in effect, it can play some very fine and subtle beats to complement the vocals. “Neurologium” crackles along and has some fun as it spins about and lets its hair down. “Traces of Desire” continues along a similar relaxed vein while “Post Cerebra” sounds like a refined Skinny Puppy B-side in that’s it stands on the line between free spirited and downright mad. “Atra Bilis” draws it all to a close up with an eerie, suspenseful score that croons in dusty drawing rooms of old mansions.

The double album is definitely one that your collection would be richer with. You may have some problems trying to get your head around its sheer variety and sometimes complex free thinking, but once you do you will be in for an amazing and memorable aural journey.