Most albums don’t begin with an “interlude” but this one does, doing the same job as an intro, but better, like I am already keyed in to the action of the plot. It could have been written after the title track, which follows the opener, where the melodic themes hinted at in the “interlude” are stretched out and more fully developed. Everything here is arranged in well fit layers, like an actor in a period costume, whom Torngat might well be providing the soundtrack for. A kaleidoscope of timbres illuminates the hierarchies of the harmonic spectrum, all glowing, washed in the thick espresso sludge of reverb and carefully attenuated distortion that coats all the remaining songs.
Whereas the edges come off rough hewn from the fuzzy swamp gas effects, shimmering melodies float gracefully rising like angels above the crinkling sheen of soft white noise. The group show themselves as being well listened in the prog rock and kraut arenas. Feedback, heavy riffing, and fluid drums (sometimes sounding like they are being played underwater), are all evident on songs like “L’Ecole Penitencier” and “Turtle Eyes & Fierce Rabbit.” “6:23 PM” shows a more subtle, ambient side: the slow but throbbing key playing on this track reminded me on every listen of the dreaminess of the classic Eno song “Spider and I.” This is in no way a disparagement of the piece, but added a weight of familiarity as well as mysteriousness. Gentle piano trickles, alongside a windy electric blur, keep it full bodied and well rounded.
The real light of the group shines through on pieces like “Afternoon Moon Pie” and “Going Whats What,” streaming, coaxed out of the curved brass that is the French horn. Whereas many bands will have garish tracks full of bombast and unnecessary pomp when they bring in a horn section, a single French horn imparts a more pure kind of regality altogether. For Torngat it has the benefit of setting them apart from the crowd.