The release appears on Minneapolis based Altar Of Waste, and as always it has a nice arty presentation- with the four CDR’s coming in the labels house style clear DVD case. This takes in colourful doubled side comic book like artwork of the five sisters, and each disc an identical & colourful selection of comic book drawn items which relating are to the sisters lives.

Each of the five tracks offered up over the four discs take their names from one of the five sisters, and how they committed suicide. So on disc one we have Therese: Sleeping Pills, and Bonnie: Hanging, and these each run between the thirty & thirty four minute mark.  So first up we have Therese: Sleeping Pills, and this track is built around a taut 'n' dense matt of buffering & battering storm wind like textures, which are webbed together to create this ‘wall’ that’s akin to a winter-storm-caught-in-a-box. The ‘wall’  mainly cycles through a few variations of similar buffeting, battering & jittering textural weaves, but from time to time you get one off brief textural darts. On the whole the tracks a great start to proceedings & keeps ones attention nicely fixed with the subtle shifts with-in its stormy mass.

Bonnie: Hanging starts off been built around a descending yet fixed rapid & thick billowing, which is unfed by a buried mixture of fixed mid range bell like harmonic pitched, and what sounds like a mumbled loop dialog. To begin with the whole thing is very urgent & pummelling in it’s feel, but as we move towards the firth minute the billow has been shifting to a more jittering & slightly skip rattling, which is mixed with a circling wind like drone- and we get a nice feeling of layer detail from the whole thing. Up until around  the half way point the tracks textures slowly morphing in a most appealing way, then at around the ninetieth minute we move back towards a more thick & fixed billowing/ roaring descent with the other buried elements still just made out in the foreground.  The tracks has a few more subtle shifts after this point, with the track end on a mix of in caged  deep galloping & fixed yet buried ring tonality.

Moving onto disc two, and we have the track Mary: Sleeping Pills- this comes in at just over the fifty three minute mark. This starts off been built around an almost percussive wall- with a rapid bashing & smarting judder, and this unfed by distant & muffled looped elements- these take in a simple jaunting  like melody & male voice repeating a phase ever so often; neither of these elements are really clear enough to fully define what they are, but your minds attempt to figure them out pulls you deeper into the ‘wall’. As the track progress the main texture seem to get more rapid and less almost percussive in its feel, with more of a  spraying feel to it. And underneath this you have a thinner rolling judder- also the buried elements seem to disappear too( though they latter reappear), and as the track goes on further we get a few other  subtle deviations  in the flow of the  main textures.  I’ll have to admit I enjoyed this track for its first ten or so minutes, but after this point I just found there was not enough appealing or interesting going on here to keep my attention- sure it’s accomplished enough in the way the textures shift & subtle morph, but it just didn’t keep my attention fixed.

Disc three takes in the track Cecilia: Impalement, and this comes in at just under the 68 minute mark. The track opens up with a mixture of crisp ‘n’ seared whizzing/ crackling noise, which are underfed by taut & short billowing like rips- these elements are knitted together to create a head roasting/urgent wall, that is both unforgiving & rewarding in it’s tight textured weave.  At around the four & a half minute mark you get this circular wheezing grain that’s added to the mix, and this sounds like something between a car having trouble starting & a lashing winter rain storm. By around the 8th minute the rips seem to have shifting into a more bleak tunnel fed noise drone, as you can make out other subtle textural details added here & there- with the whole just seeming to get more & more dense/ detailed in it’s mass. At the 10th minute there is yet another main texture added, and this comes in the form of a thinning whipping & battering wind tone. From here on it TET takes as through a few effective & rewarding layer shifts, yet through-out the intensity/ dense-ness is kept up to ten- it really is astonishing how he’s shifting the textural layers in such a rewarding way, when everything is so, so overloaded.  All in all this track offers up a very impressive, detail growing/shifting,  moorish yet intense piece of ‘wall-making’, and it certainly stands as some of the best work I’ve heard from this project.

Lastly on disc four we have the track Lux: Carbon Monoxide Poisoning and this is the longest track here at just under 75 minutes. This track opens up with a rapid & furnace roasting mixture of: dense & continuous flame like billowing, speedy set yet muffled rumbling, and this very distant looped yet hauntingly tolling melody( which you can only just make out). By around the 4th minute the flame like billow seems to be slowing & becoming more of a rapid yet semi stalling judder. At around the 12th minute the whole thing has slowly shifted into a mass of dense & thick lashing water like juddering & rain like pelting, which is all under fed by the still haunting ‘n’ toll melody like loop.  From here on in we once again go through a few subtle yet effective shifts in the ‘walls’ layers, with the whole thing still remaining dense.  All told this is another well put together work, it just did’nt hit quite a much as the last track.

For the most part this is another highly rewarding set from The Ebony Tower- sure not all of the ‘walls’ were completely satisfying, but even with those tracks I can still appreciate the skill & clever texturally use going on here