Unlike many of their releases this is a studio record made unto itself as opposed to the many soundtracks they have made for theatre works and the like. It also stands as one of their most fully realised releases to date.
Proceedings are launched with The Director. Sitting somewhere between contemporary classical and doom this is a sliding and menacing mass of sound, more Masque of the Red Death than The Decameron. Silver lining is an alarming swooping buzzing track, looming and lowering only to rise and descend again. A delicate play with the Shepard-Risset glissando manifesting a delirious swarm of sound. Lee’s garlic orbits into a short fragmented zone with bursts of harsh feedback and crashing fx, all manner of audio enters and is discarded with an underlying sense of despair and frustration. Proceedings continue on Side B with Tea With Kali where a calmer plateau is embedded with oscillating guitar and fluttering electronics. Beating sine waves envelop the listener in a meditative thought piece of sound. Frostless concludes this epic dispatch as a subtle and gentle foray into twitching electronics as a light buzzsaw drone swirls as around your mind.
The interplay of sources (guitar, electronic equipment (hardware, software, speakers) is so entwined it’s often difficult to discern who is doing what amongst the broad sound field. KTL VII is instrumental music as visual narrative resulting in an exquisitely crafted release full of sophisticated and sublime illusory effects.