Monophonic, as in one voice. Bertel plays trombone, amplified to uncover the hidden aspects of the horn's sound in slow, drone-like dreams of undulating sound. The buzz and rasp that set up shifting harmonics, odd clicking and popping and cyclic timbre adjustments. "Invisible Host" resembles a giant rag-dung [a large brass trumpet from Tibet] complete with sharp inhaled breaths. Tone becomes rhythm: is it a low note, or a fast beat?

"Number III" sets up a comic chatter and yelp with lots of rubbery squeaks and someone moving an ancient armoire on a linoleum floor. "Cognitive Dissonance" veers close to a vocal tantrum with metal bump 'n' thump for punctuation. "Winged" sounds uncannily like electric guitar interpolating a swarm of intoxicated bees. "Contradictions" sets up a simple pattern that gets encroached on by feedback and some major chewing movements.

I think this music would fit well with old gun-camera footage from WWII fighter planes, and that's a compliment. There are only the briefest of gaps between tracks here, just enough time to catch your breath before the next heavy monolith appears for your inspection. "Intangible" is my favorite, a loopy feedback and squiggle that really gets at the fidgety part of my brain and shuts off the monkey chatter. It's what I need when I need it. I will now dutifully seek other examples of Maria Bertel's work, so as to prolong the experience.

My first listening to this disc was done in my car on the way to work. I suggest you do the same. It'll set you up right for the day.