This third postcard from the edge from pioneering Norwegian guitarist/composer Stian Westerhus goes some way to charting the progress of his jaw dropping solo live performances, that draw as much from pure noise improv and avant-metal as they do contemporary classical. Working as a live composer, Westerhus often bows his six-string treating it, his vast array of effects pedals and an imposing wall of Marshall amps as ‘one instrument’. And if there's a defining aspect to Westerhus’ music it's his use of space, that's often comprised of layered shimmering loops, but more importantly here it pertains to the space in which he recorded this album: Oslo's Emanuel Vigeland Mausoleum. A renowned sonic setting, its natural 20-second reverb envelops this menacing, mainly improvised symphony as it rises up from the dark. The aptly named opening piece ‘Shine’, pulses like flashes of electronic sun through cloud. Indeed it's the amorphous, epically nebulous, utterly non guitar-like sounds that Westerhus draws from his instrument which give his music such magnetism. The hellish gothic atmosphere sometimes swells up like a thousand backwards violins emerging from the depths, while in between the rippling, plinking feedback, and shuddering sub-sonic rumbles create the most startling, spine chilling atmosphere. This is flotation tank music from the outer limits; like whale songs from beyond the stars.