From the opening note you figure that VOICE OF EYE have changed, and despite their having already a tasty sound, they have actually managed to improve it & make it appealing to a wider audience. "Transmission" the opening track brings MUSLIMGAUZE to mind, yet, while being a spatial percussive piece with a similar sustaining atmosphere, it is brighter & in many ways a more varied sound - making MUSLIMGAUZE's music sound surprisingly composed compared with this which must be largely improvised - it has an of-the-moment feel to it. "Strange Attractor" comes next, a slightly slower, less Ethnic sounding, but still structured around a central trance drum pattern. Over this fly strangely beautiful spirits and grotesques, combining their freakish audio-bodies into a flowing stream of sounds. "The Shadow I Knew" is a strange non-beat thing - the soundtrack to a Hadean nightmare comprising all manner of strange sounds. "Deja Hier" again chooses a non-beat cloak over which to layer a cymbal-only drum pattern. The deeper, fuller body sounds like a smoke-belching factory building up into life on a cold, sharp, dark, bitter Winter's morning. Through the mass a pattern emerges - not unlike something by STEVE REICH, but is held up by the boiling mass of dark noise beneath. A more structured piece still builds up towards the end - flute & drums with wooden, clicky rhythmic drive. "Melange Nuit" is a darker, more sinister piece which, despite a central structure, couldn't really be described as a 'rhythm'. BONNIE McNAIRN whispers across the cold strangeness, the atmosphere of dark woodland ready to engulf children, it's open maw beckoning with the broad hint of adventure. "Descending A Stare" heads back towards a more structured sound - a huge sound reaching for the dark-steel-grey sky like an immense red claw, beneath which the drum rhythm again visits the arena where MUSLIMGAUZE, O YUKI CONJUGATE & VASILISK have found recognizion. And V.O.E. have forged their own, darker, more deadly sound within this area - a soundtrack of some strange post-Apocalypse adventure. "Eros And Innana" whirls in on floating mass of edgeless synthetic sound, a gently drifting shapelessness which floats along like something from one of GILBERT & LEWIS's stranger, less structured pieces. If ANOTHER HEADACHE were to make something more passive & tranquil, this may be what it would sound like. "Deep BE Vox" is one of two pieces from the 'CSAW post-apocalyptic production of King Lear' - an abstract, strange thing moving more towards NEGLIGE-ELECTRONIC UNDERWEAR, THOMASIUS / SCHNITZLER, VARESE, STOCKHAUSEN etc - seemingly disconnected splinters of sound appearing as if through miniscule holes in the aether. Underneath this grows a throbbing rhythmic bass sound. Sounds a little like angry miniature elephants trumpet and unresting spirits float across, trying hard to vent their considerable anger & anguish. A rather wonderful little creation this - for those who like strange soundscapes. "Epitaph For King Lear" closes the album - again a non-beat piece. The sounds swell up like sharpened sheets of metal bowing, blade against blade, creating sounds like honed feedback, slowly drifting through a myriad different configurations. There are elements of ARCANE DEVlCE in here & they manage to capture some of the atmosphere of CONTRASTATE, without really moving towards their sound in any marked way. In fact, at points, it even reminds me of GODFLESH's "Pure II" epic. Although versions of these tracks have appeared on cassette (see other review) it has enough on it to merit you purchasing a copy. And if you have heard anything by them, you know a CD of their sound is a must. Originally reviewed for Soft Watch.