Although Ecdysis is described as capturing "the sights, sounds and feel of Daniloski's Baltimore neighborhood," the effects of this musical drug aren't so thematically restrictive. Many of the sounds carry sci fi associations, and the tracks with the most definable moods play upon different types of fear experienced in environments formed by the listener's own mind. "Thinning the Herd" (in which there are hints of Frippertronics in the guitar loops) evokes images of a huge extraterrestrial force descending upon and gradually obliterating a large group of terrified, fleeing people. In stark contrast to this mass hysteria, "The Place Where There Is No Darkness" conveys a feeling of utter remoteness and isolation, again with sci fi overtones: images of a lone soul stranded on a shadowy (ironically, considering the title), deserted space station, freaked out by darkness and solitude. The fear suggested by "Swelter" (which has very Frippish guitarwork) is of a more visceral type. Identified as representing "the sensations of the heat and humidity of Baltimore's summers," this track has a heavy atmosphere implying physical oppression in a general way, and there are noises, possibly indicative of droplets of sweat, whose suddenness makes you jump out of your skin. Sounds of slow breathing may be designed to convey stifling stillness but are creepy, as well as having an artificiality to them, like someone in a spacesuit.

Less concrete scariness is created by the cover of the Latin hymn Dies Irae, which is deep and ominous, with wraith-like noises zigging around. More interesting as a choice than as a piece of music, this track is a bit boring, reminsicent of the slower parts on The Melvins' Pigs of the Roman Empire. Also somewhat plodding is "My House," the most structured (and only repetitive) original song. Some of its musical elements--a sitar, a heavily distorted vocal, and bagpipe sounds--stand out due to their absence on any other tracks but aside from their contrast to the deep drone provide no enhancements, at least not to my ears. The sitar-oriented section is like something Josh Homme would use (in briefer form) as some kind of interlude on a Desert Sessions album, while the bagpipe portion is rather Beatlesesque.

I'm not sure what outer layers are being shed by Darsombra's music, as alluded to in the album title: the veneer of sanity? Of civilization? As with all other interpretations, that too is an ear-of-the-beholder matter and part of Ecdysis' provocativeness. While ambient and experimental afficionados might be most likely to appreciate Darsombra's aesthetics and specific choices, a broader audience will at the very least savor the album's heaviness and dark tones, and the way it works on one's imagination to create spaces and moods.

written by Maud

Playing time: 34.36