The release comes in a thin clear plastic CDR case, and it features a single doubled sided black & white inlay sleeve that takes in grim & dense psychedelic textures. The release comes in an edition of twenty copies, and it appeared on Abyzm's own label Excavated Productions.

Up first we have the Vilgoc track, and this comes in the form of the thirty minute long “Crux”. This tracks ‘wall’ is centred around a rapid, dense & truly intense drilling/billowing bass noise tone, and packed tightly around this main tone are thinner jittering, juddering & sometimes semi skittering low-to–mid range texture.  The main tone remains very full, thick & head pummelling in it’s mainly fixed attack, while the other thinner textures weave out more a detailed through still mainly fairly fixed textural patterns- though from time to time there does seem to be some variation/shift in the thinner secondy patterns. This track is a really head squeezing  ‘n’ brain drilling slice of walled noise- the bass drone pins you do the floor, while the more detailed secondary elements stimulate your mind.

The second track on offer here is of course the Abyzm track, and this comes in the form of the just over of twenty one minutes of “Scourge”. This tracks ‘wall’ starts off been set around a locked storm bound mid-range dense judder. As we move towards the thirty second mark the judder seems to split & grow- so now you have one judder focused on a rapid & fixed raging pattern, while the other judder is shifting out various different patterns. Both of these elements still retain similar tone range, so ones mind really starts to get quite confused as it tries to follow either one of the textural routes. Even though this textural split has occurred the ‘wall’ it’s self still stays very firm & dense in it’s attack- it’s just the shift in the layer detail that’s moving, yet even that never moves too far from a few patterns, as of course it still has to maintain the ‘wall’. Though as the track progresses, at times, it feels like it might sudden break out & shift the Axis of the ‘wall, as the pattern  shift gets more active- yet  it never does moves the wall stucture. All told this is a effective & well conceived piece of ‘wall-making’ that has quite a distinctive feel to it.

So all in all this split offers up two worthy & rewarding ‘walls’- firstly you get brutalized & head crushed by the Vilgoc track, then your get brain gets fried trying to follow the dense yet shifting textural mat of sonic extremities that is the Abyzm track.