When this album was made, "African Cave Recordings from the Lunar Surface" was still a parallel project of Bestial Earthhammer. A while after releasing this album the sole member behind this project decided to mold all his musical projects under this name, so the future output from this band might sound quite a bit different from this one, the band's debut album.
The first song is a seven-minuter. It's a mush of some rhythmic, slightly metallic and organic white noise -like sound and some clearer small sounds that all go in loops. On the top there's occasionally a random note from a synth-made electric guitar sound that doesn't really fit in, but it gives the track some variation and evokes additional confusion. The soundscape stays similar on the next track too, with no synths though, but on the third track some vocal work comes in and the synths take up the main spot with their very monotonal sound. The song four is quite similar, execpt it's totally overtaken by the synths; it's a shame, as the backrounds sound interesting whereas the synth-sound is downright dull and one-dimensional despite it's decent pattern. Seven minutes of this is just too long.
After the very short, surprising and un-fitting lo-fi tribal experience that is track six, the following two songs continue in the same vein as the album earlier on: there's some pretty interesting, quite harsh and lo-fi field recordings in the back, but they're overtaken by some dull-sounding electric synths that are mostly just boring to listen to. Even if their patterns and feeling might fit the soundscape and it's overall idea, their plastic sound does not. On song number seven these synths are quite in the back, but not enough to save the track. Song eight is almost six minutes of just a simple and distorted vocal loop. It's interesting in a way, but it would need more content amidst the distortion as it's bare nature doesn't have much to give. The last song is mostly some actual electric guitars. The slow, drone-based and very distorted guitars are backed by some simple tribal beats and thin, harsh noises. It's a good track to end the album with, and gives you some good time to try to grasp what your ears just went through.
It took me quite a while to really figure out what I think of this album. The overall soundscape and it's feel is pretty original and pleasingly challenging, and the combination of the loopy and nicely layered lo-fi noises and the clearer, more pattern- and structure-oriented electric synths is actually a very good idea. The album has it's own feel, like it had been lying somewhere under dust for ages until someone found it, and it surprises the listener and offers something new. The thing just is that the synths are executed very badly; they either dominate over the background sounds, or they don't fit together with them with their one-dimensional sound. If they were more refined, had more mass and character, and if they were mixed and imbued better with- and into the backgrounds, the whole package could be very good. The album also lacks consistency: for example the acoustic tribal-song, the song number five, really stands out negatively amidst all the noisier and harsher tracks, track four has too dominating synths, and song number eight lacks flesh whereas the last track sounds unfittingly fleshy and organic after the other ones.
The album has original ideas and a lot of character. If the artist manages to refine the project's output and to make it's sound more holistic and continuous, it might really be worth checking out. This album might be good for the fans of bizarre and/or lo-fi soundscapes, and for those that are seeking new experiences. I'll be waiting to hear what the artist comes up with next.