The CDR comes in a clear plastic slip sleeve that features a  black & white Xerox printed cover- on it’s front is an old print of various medical unstable people, and on the back cover we get a montage of emaciated  & mental troubled patients in stark & run down hospitals rooms.  This CDR was a self release by DBC, and it came in a edition of 30 copies.

So on offer here we have two untitled tracks, and the first one comes in at the 37.20 mark. This first track opens up in very taut, tight & clinical fashion with a mix of smaller mid-range noise textures that are laid out in a rapidly jittering ‘n’ juddering pattern. Weaved into this taut structure are a selection of even smaller higher pitched textures, and these mark out a almost taut harmonic pattern. At around the 10th minute the mid-range juddering ‘n’ jittering tones seem to start to shift in their speed- one minute they seem like they are rapidly slowing down, then the next speeding up again, and this all makes for a very entrancing & brain screwing effect.
The next shift in the ‘wall’ happens at around the 18th minute, when the harmonic high pitch points disappearing leave just the tight juddering ‘n’ jittering elements- but this more stripped down feel is short lived as by around the 20th minute DBC has added in another taut layer of jittering, and a slightly different patterned & sounding higher pitched textural points.
By around the 27th minute we get another slight shift in the ‘wall, and this sees the juddering ‘n’ jittering elements seemingly pile up & drag slightly, as the surrounding similar toned textural elements carry on with a slowing-then- speeding-up textural feel.

The second untitled track comes in at the 38.45, and is sequenced directly in from the first track. This ‘wall’  opens up with this sort of circular & slightly swaying set of sparse textural noise patterns, and these take in: rapid slipping crackles, crisp pitter patters, and skipping judders.  The way these patterns shift then merger together (briefly) is nicely unbalancing and head screwing.
By around the 10th minute the ‘wall’ locks down into a more consistent line of thinner skipping tones, but just when you think the track may stripped down, the skipping textures start to grow, slow & thicken taken on a taking on the feel  textural  rapid 'n' large snowfall.
The rest of the track sees DBC effortlessly shift & alter the patterns of textural noise in a most rewarding & engrossing manner- slowing down, speeding up, thinning back then balking them up. The next significant textural shift happens around the 20th minute when a slightly higher pitched crackle ‘n’ drag is brought into the mix, and this adds in a nice denser yet taut edge to the track, as the other textural start to gather & building in dragging lumps of tone. But fairly soon the more shifting textural feel of the track returns again, as it builds up then thins back once more. So all told this track is another very effective & cleverly manipulated piece of wall-making that keeps you locked in from start to finish.

I must say this is one of the most rewarding taut ‘n’ tense medical themed releases DBC has put out, and it’s safe to say I’d rate this with the best some of  his work with-in this  type of wall-making, been up there with releases like 2011’s “Trypanophobia” & 2012’s “Nosocomephobia”. This is well worth trying to track down if you can.