The release comes in an edition of forty copies, which is fairly big for the wall scene. You get a white shelled tape featuring black & white labels, and this comes in monochrome/ lo-fi single sided cover- which takes in grainy collages of skulls & bodies. So I guess you’d say it has the grimly old-school ‘wall’ releases look from the six or seven years back.  And fitting this we get two decidedly fixed, brutally barren, and extremely nasty examples of walled noise.

If you ever heard any Vomir release, then you’ll pretty much know what to expect here, and really you get a textbook example of the French man's ultra-intense sound-craft.  As we’ve come to expect from the majority of Vomir releases, both tracks here are untitled, and both are equally unforgiving too.

So on the side we have a wall, that brings together an extremely hazed & ill-defined low-end judder. With a selection of constantly tumbling, rushing, and rattling mid-ranged textures. These elements are forced together in a very blurred, at times muddled, yet constantly speeding mesh of sound. One is constantly  trying & figure out both the patterns sequences, how many layers are present, and where you are in the length of the track.  The 'wall' is certainly all-engulf, and I’d say it’s one of the most intense things I’ve heard from the project in some time. Though on the downside the extremely manic, ill-defined & overloaded feel of the ‘wall’ means it’s  difficult to get any one element to hang onto, so as a result, the whole thing does just come across like a constant rushing mass of noise.

Over onto side two, and the track sees the blending of extremely muffled ‘n’ blunt drone rush, with a mesh of rattling & semi skittering mid-ranged static. The layers are stacked on top of each other with little or no separation, or definition- so as a result, you get the feeling of been thrown into ripping ‘n’ buffeting maelstrom of dense sound- so I guess you'd say is more of an impenetrable yet set noise storm, instead of a wall of sound.

Both sides of Seeding Of A Ghost certainly find vomir at his most unforgiving, extreme, and undefined. I certainly respected the dense & all consuming feeling of the first sides track, though due to the lack of any real texturally separation & definition the wall does start to drag.  The second sides a little more appealing in it’s still unforgiving, though slightly more focused rush- though I can’t say it completely grabbed me either. In conclusion, if you’re a Vomir collector, you’ll, of course, get this- but if you only have a passing interesting in the project & enjoy your walls with a little more separation, this probably isn’t for you.