The second release of the now defunct/inactive Drô6n Records was the fourteenth release by the German band Tainted Corrosive Mist, released as a printed black CDR in a plastic ejection sleeve.
When you put on your headphones (which are not necessary, though) and click the play-button, you'll immediately know what you're going to get; the humming, somewhat ambient-like layered drone (that thickens all the way to the track's end) starts right away. There's also some sparse synth-chords in the beginning of the track as a spice. Around seven minutes one can spot an electric sound back in the mix: this possibly guitar-created, high, two-chord distortion gets more audible as the track progresses. At sixteen minutes, when the electric distortion is clearly audible, the synth-sounds from the beginning make a short-lasting comeback. One humming sound starts slowly taking more room to itself, the electric drone distortion continues the same loop it has done this far, and a high and varying whining sound appears. It might be guitar-created, but I am not sure, as it sounds like a rewinding tape but faster. It doesn't follow any pattern, which makes it even more interesting along with the fact that it really stands out from the more distorted and low sounds. All the sounds except the low humming drones start fading out before the thirty-minute mark, after which there's only the simple, low drone with little variation to be heard for a few minutes. The "silence" takes your attention to the track, but it doesn't sound interesting at all. Well, it's propably not supposed to, either. After a while a harsh, noisy sound comes to the top of the soundscape. Soon after, the tape-sound appears again, creating some irregular and rather improvised-sounding loops that will most certainly get your attention, as they stand out really much. The track calms down a bit after the fourty minutes, before ending to a rather quick fade-out.
The song doesn't have any particular atmosphere; it drones on slowly but surely, sounding heavy and overwhelming but calm and peaceful at the same time. The track slowly gathers a more and more thick structure (and a bit more volume) and becomes more and more noisy towards it's end, but the noisiness is teamed up with the drones in a way that makes the whole sound rather peaceful, yet disturbing. The individual sounds seem to have surprisingly little to do with each other at times while still forming a working whole, which makes the record more interesting and challenging. The sounds and the overall soundscape also builds up nicely and naturally.
The song is built and structured well, and it has good daring choices in both sounds and structure. It also represents the artist's own style of music, meaning that this release truly sounds like TCM. Yet I must say that even though this release is good, it's not exceptionally good: it doesn't get addicting. The song overall relies too much on the guitar, which can be spotted after the 30-minute mark; as the guitars are mostly gone the song starts to sound empty, relying mainly on the now guite vast and low drone. I think that the artist could've executed many more ideas within this song's lenght. Nonetheless, an interesting and good effort and an even daring experiment.