The release is themed around the work of fairly obscure  1950’s to 1960’s US country singer Skeeter Davis, and in particular her 1962 hit “The End Of The World”- the song in question is fairly underwhelming, down-beat & bland slice of 1960’s country pop, so unfortunately the releases theme doesn’t really capture my imagination.

The tape takes in two side long untitled tracks, and each either starts or ends with slowed down, and  frankly very dreary & drab samples from Ms Davis song. Anyway I’ll try and look beyond my clear dislike of the sampled track, and focus on the wall-work with-in.

So first up we have side ones track, and after about a minute of dreary song sampling & subtle textural crackling we get into the ‘wall’ meat of the track. To start with the ‘wall’ consists of a mix of lose & violent juddering, this is under laid by a pummelling, muddy drilling, & slight spluttering low-end noise. As the track progress towards the five minute mark you get subtle shifts with in the now two or three layers of lose juddering. By around the 10th minute the track has started to thin back to just a rapid & thinning earthy rumbling, with slight high end sliping fan belt texturing mixed in. By the 13th minute the tones have started to blur out & mingle with each other creating rapid ANW feel. By the 17th minute the pace & depth of the track has picked-up once more with Logical Fiend added more pock-marked & weathered textures to the ‘wall’.  Technical the tracks well enough made, and it has some twists ‘n’ turns along it’s length, but for some reason it just didn’t really do anything for me, and I just found the whole thing rather tiresome & bland.

Side twos track opens with an almost white–out of roaring, searing & baying noise mass, this is underpinned by this just heard  harmonic tolling element- I’m guessing this is some element from the Davis track. By around the 4th minute you can start to make out slightly more structured shape of the ‘wall’, and in place are the following elements: a thick spurting tone, thinner rattling ‘n’ scraping textured grit, and the stuck tolling harmonic texture (which is still very buried).  By the 9th minute we’ve move into a rapid ‘n’ piling up masses of semi sputtering earthiness, fairly soon these are attacked by more weathered static sub-tones, and the whole thing starts to really lose definition & shape again, and what first felt like a positive development rather treads textural monotony. The remained of the track just sees the same ‘wall’ in place, with the Davis track appearing in it’s melted 'n' stretched form for it’s last few mintues

I’m normally quite partial to apocalyptic themed releases, and  have  of course enjoyed  much of this projects past work,  but for some reason this C50 did little or nothing for me. Clearly part of my feelings come from the releases theme, but sadly I also felt Logical Fiend textures (and the way he manipulated them) just felt rather uninspired & un-engaging too.