Comprised of three movements, EARMOVIE II uses variants of standard FM techniques, along with additive and subtractive procedures. With digital instruments built from scratch, Hall varies width and speed of vibrato to express syntactic differentiation. Movement I, “The Haunted Garden,” is a composition evoking a ghastly quality that evolves into unexpected sparks of fluttering, bubbling, and blipping synth-wave and heavy-set bass lines. “The Haunted Garden” effectively captures the nature of the spirit with a flair of cosmic-horror.
Movement two, “The Temple of Oblivion,” opens with high, eerie strains that develop into a fast-moving musical entropy punctuated by sounds reminiscent of radar, doppler, and the terrifying recordings of sea-floor creatures, digitized into one mass of sound. The bassline’s entrance carries with it the unknown nature of deep-space, a looming constant amongst the startling combinations of shuffles, whistles, and whirls.
Hall completes EARMOVIE II with “From the Winds of Avalon,” which opens with a great burst of popping noise washing over the soundscape, indeed, much like a wind. For brief and beautiful moments “From the Winds of Avalon” borders on the atmospheric, before being scattered back to pieces by great crashes, bangs, and background explosives. It closes almost extraterrestrially, staying true to its original sound while somehow still completely evolving into a new and unexpected beast.
— Emily Mettner, Shane Jozitis