The dense HNW blocks of sound does not dominate or overpower the more dynamic guitar excursions of Courtis, but instead there is a good balance of the elements, making room for both artists to shine. The two sidelong pieces that makes up “Sin Comentarios” appears to be composed in a considered manner. The first piece is a full-on ferocious hailstorm of electronic shards, like a thousand pieces of scarp metal disappearing into a prehistoric black hole. Midway through piece a metallic drone appears and slowly takes over the music. This leads us into the second part, which feels like the grinding cosmos of part one twisted inside out, like an alternate reality, all elements in an inverted state of weightlessness. The piece is more open, the elements more clearly defined, there’s a different sense of both space and pace, but the piece is no less intense. Towards the end the music slowly builds down, almost like a sonic origami that folds itself into nothing. I’m sure it was not intended as a symbolic Zen-like closure, but it in the context of what happened, it’s hard not let the thought cross your mind when listening to this remarkable last Vomir recording. (extract from Lasse MARHAUG's liner notes)