The opening bass riff is catchy, upbeat, up tempo. Already, one is surrounded by sound. You catch bits of words here and there, but mostly it’s just the wash of sound. The track two count off is mechanical. The CDs name themselves in order. There are strings and something that might be a sitar. A huge orchestral crescendo, then sudden silence. Now lyrics, words taking the forefront. The voices are straight ahead, coming from the other side of the room. And now a rolling timpani effect from behind and moving right. There are dueling basses that move opposite, right to left and staggered voices that are indiscernible. Horns sound, mirrored by a bass guitar. Track three. A accelerating sound, like an airplane taking off, starts the track. Liberal use of echo and reverb are starting to be a trend and it’s obvious that the CDs are more and more out of synch. Track four starts with lyrics, sounding more conventional in its instrumentation. But then there is growing dissonance which coincides with the acoustic opening that plays on. There are different tempos competing, perhaps even different keys. Reeds can be heard to the left, maybe an oboe. And then bees. The sound of lots of bees. A huge buildup and then a fade back to the simplicity of the beginning. Track five has a pretty opening, a waterfall effect on a guitar broken by a sudden staccato burst from a snare drum. The drums from different speakers line up for two, three beats and are off again. Six consists of nothing more than a high pitched tone that blocks out anything else. Seven opens with a piano and builds steadily into a crescendo of percussion, but then backs down to leave a pair of trap sets. Eight is a narrative that loses itself in an overwhelming crush of barking dogs. And then…nothing.