The front cover features a drawing of an alien looking pope figure on a throne which is most fitting as this often feels like your visiting a vast cathedral on another world that’s half organic and half alien built. It’s vast towering walls shifting flesh like as you move though the body of the building, the vast chambers, corridors and main places of worship often clouded on the lower levels by green smog.

Voronovsky manipulates and stretchers the bell and violin tones into deep spiritual sound-soups that he lets bob and swell around the cathdreal harmonic structure-moving through drone textures, rhythmic textured tone elements and deep sonic expanses of sound. It really must have been very impressive in its original live form, I can imagine some of the tones carrying right through you. Though it’s split into seven separate pieces each track flows, grows,sinks or risers into each other meaning this works well as one long near on 50 minute track.

Through out Tactio Voronovsky mangers to create an impressive alien yet spiritual and often vast sounding  atmosphere that nicely shifts and morphs through out it’s sonic life from deep drone craft, to rhythmic and dense work-outs, to meshed bell tapestry.