The intro to this feels almost like a music box. Freaky guitar comes in from there, and the track builds outward gradually. This thing continues to evolve. It’s trippy and freaky and so intriguing. This is art music at its artsiest, while also getting into some pretty intense rock zones. It’s weird, but also tasty. There is a freeform fusion meets King Crimson vibe to this.

Violin gets things underway here. There is definitely a bluegrass angle to this. Yet, it’s also based on experimental fusion and art music. It gets really freaky at times. The eventually transitions toward more freaky electronic based music. Yet, then we get a resurgence of the bluegrass instrumentation. This continues exploring sonic zones with more trippy vibes at play.

The title track definitely earns comparisons to trippier King Crimson stuff. This is dark, dynamic and diverse. It’s also stunning at times. It’s freeform and unpredictable, but still has a natural flow to it.

Violin, guitar and piano often seem to be in a competition with one another here. If possible, this is even more freeform than the music that came before it. It’s definitely experimental. It’s also effective. While a lot of this is loud and intense, there are mellower modes, including a very atmospheric movement at the end.

The violin on this often brings a movie soundtrack vibe. This is a freeform and dramatic number that has some intriguing moods and explorations.

Befitting the title, this is another that has a definite bluegrass vibe as it gets underway. That section evolves, but also holds the track for roughly the first half. Bass takes a solo beyond that. After that maintains command for a while other instruments gradually climb up into the arrangement and this turns decidedly freakier.

Melodic vibes are contrasted with freaky freeform jamming on this closing number. After building for a time, this shifts to a more stripped back and mellower arrangement. It gets noisier and weirder as it evolves from there.