Opening with the skittish “Cognitive Ease” this album lands somewhere between dark ambient and clicks 'n' cuts. The deep bass tones mix beautifully with the flitting static as the found sounds interplay between the two. The track develops slowly over it’s eleven minutes, and sets the scene perfectly.

“Phorusrhacidae” (which literally means Terror Birds) is more field recording based. The marriage between the real and imagined worlds meeting at the points where the synths flutter into the track.

Electronic music has a history of playful experimentation with the natural world, dating back to it’s first exponents such as Oscar Sala.

With On A Fateful Morning CHRA utilises this playfulness
exceptionally well. However as technology has progressed I do feel there is more of a robotic, almost “Lego”, nature to this playfulness and less of an organic evolution to it. A little more ad lib with less structure would, I think, have these pieces move into a more fluid area.

Each piece is beautifully constructed, but I’m left with the sense of wondering just what would happen if… and that’s not brilliant. When you involve non musical sounds surely you should allow them space to breath and court the more electronic sounds?

A perfect example of this is the track “Das Modul”: a tiny dripping synth mixes with the atmosphere from a large open space as a deep drone passes across the piece punctuating it steadily, but the development is
minor.

Ending with “Coisioc” the album almost finishes where it began, and although you may feel like you are between two separate worlds at some point you have to land in one or the other, and this is what lets this album down. It should marry those worlds together not behave like a Relate Councellor trying to get the two to talk.