The CDR comes in the standard Muzikaal Kabaal label packaging- which is a slim-line CD sized DVD case, and the cover takes in murky over laid pictures of deserted streets- which is quite fitting for both tracks here, as each each  quite an atmospheric & creepy underbelly.

So first up we have the Dead Body Collection track, and this comes in the form of the twenty two minute “She Wanted More Chemistry”. This track is built around a thick & dense weave of noise textures which take in the following: a rapid juddering ‘n’ jittering tone, a billowing & churning texture, a few shifting layers of sub-tones focused juddering ‘n’ jittering texturing, and this distant looped almost harmonic texture- it’s difficult to tell if this is a looped melody element, or some form of tolling bell loop, or a mix of both, as this element is buried so deep in the ‘wall’ you only get hazed hints at it’s true shape & make-up.  The track is wonderfully overwhelming and haunting, and at times it almost comes across as a extremely dense take on chilling drone –scaping. All told it’s another rewarding bit of wall-making from DBC, and the underlying almost harmonic texture is something we’ve not really heard from this project in the past.

Next we of course have the Carrion Black Pit track, and this in entitled “The Ten Thousands Doors”, and it comes in at the 29.31 mark. Most of the track is built around a meaty yet (mainly) two toned wall of noise- firstly we have the locked down & repetitive bleak throbbing bass purr, and on top of this we have a thinner jittering slightly skipping static texture. Added this from time to time we get the odd thinner sputtering or cluttering tonality. The bass purr sticks to roughly the same pattern though-out( though at times it could be speeding-up/ slowing down, but this could all be a trick of the wall), while the thinner static based textures do seem to subtle shift their patterns though-out the track. In it’s last few minutes the track thins to a fading purring roast & a thinner scuttling trail of thinner toned noise, with just at the end track drifts into a shimmering yet noise ripped synth drone sustain. All told it’s a nice, moody & oppressive slice of ‘wall-making’, which nicely sets your mind in a gloomy & hypnotic place.

“Ten Thousand Doors to Her” offers up two rewarding yet grimly atmosphric slices of walled noise, with each nicely complement each other to create a well rounded & enjoyable split. This release came in a edition of twenty copies, so you may still be able to pick-up a copy of this.