Boomkat Product Review:
**Tempestuous noise/techno and concrète swell-on by Max Bacharach, a.k.a. Tengui** "The album’s been a long time coming. It seems like Max has been building and tweaking these tracks for as long as we've known him, a good five years plus by our broken watches. What's emerged from those steady, patient processes is an album that knows itself, understands the crevasses in its own character, and wants to tell you its stories by cold firelight. Opener ‘Shadows’ sets the scene: intricate sound design, smudged blue chords and reclaimed sonic artefacts that dance between left and right like neurones in a drunken fug. It's beautiful but unsettling, weightless yet weighty. In other words, it's the perfect gateway to this sound world. ‘Conditions’ starts like Terry Riley on ket, variations on a single note mouthing gentle harmonics and nuance over yet more watchful, unsettling panning, before a secondary tone enters the stage and, eventually, bullies its way from dissonant to dominant. ‘Transference’ owes as much to Coil and Guy Debord as it does motor city techno, but that's not to talk down its heft. ‘Mutation’ isn't afraid to flex some muscle, burrowing around the lower registers while focussed percussion gives a first hint, 27 minutes into the album, of Tengui’s club nous. It's a masterclass in restraint, never letting rip, but ‘Kicktrip’ is the payoff. Gamelan bell sounds sit giddily under a spoken echo chamber induction, until a driven 4/4 builds towards a climax of sorts – like the rest of the set, it holds back a little to give you space to imagine the rest. ‘Black Hole’ seeps back into a reclining position, and over its twenty minutes it veers from darkly meditative drone to quarter speed techno to slo-mo Ligeti to the sound of an empty forest turned up to 11. And closing piece ‘Ulaanbaatar’ returns to the more comforting tones of the album’s beginnings, the sound of vast, distant insect activity nestling in a faux-throat singing bed. A siren intrudes to break up the party, and soon it dwindles and it's over. ‘Twas ever thus…"