The album comes in a double mini gatefold- with the artwork taking in lit-up objects (like a stone rabbit) and ominous looking corridors. This all nicely ties into the episodic & at times almost surreal like dream quality of many of the tracks here. These morph from layered field recordings, unsettling drone drifts, detail building static texturing, and slurred post-industrial & ambient webs of sound.

On the whole, the album is certainly very sonically elusive & unbalancing, and even after more than a few plays through it still retains its ability to surprise & subtle screw with your head. I can’t say it’s the most consistent of releases I’ve heard from Mr. Lopez, as at times it does come off a little too drifting & random- with many of the tracks lacking a firm structure. But there are moments of greatness here that both intrigue & unsettle nicely- these just aren’t as prevalent as those found on last years Untitled (2012-2014)- which really stood out as one of the most consistent things I’d heard from him.

Of the two discs, I’d say the second stood to me, as more of the tracks caught my ear & kept it held. The opener “Untitled #343”- offers up just over eleven minutes of layered & slowly morphing field recordings- bring in to start with insects, then birds & other wildlife all to create a great building & disorientating track.  Track five “Untitled #341” moves from wavering ‘n’ watery drone rises & lo-key textured noise wooziness that suddendly cuts-out, in a most effective manner. Before moving into detailed & shifting layers of animal chewing sounds.

There are certainly moments of fine sonic mastering & manipulation present on Untitled (2015-2016) and at times wholly rewarding tracks too. But as mentioned early-on some of it just didn’t grab me, as I’d hoped. So, in conclusion, a mixed bag, but if you’ve enjoyed Mr. Lopez other work I’m sure at least some of this will hit home with you.