Accompanied by a press release which shuns talk of performance or instrumentation in favour of discussing the Egyptian goddess after which this release is named, and with cover artwork that frankly makes me squeamish, Ana Quiroga and Uge Pañeda’s second album as “LCC” seems to be setting its stall out early as difficult and inaccessible. The audio behind it, however, is not nearly so harsh.

Almost purely electronic but with other ambient noises blended gently in, it’s a mixed bag of synth-heavy pieces involving washes and oscillations that gently ebbs and flow, backwards and forwards in a mostly very relaxing fashion. It’s sometimes arhythmic, but with tracks like the drum-heavy cinematic tension of “Ka” break it into distinct pieces.

Longest track “Ba” is to me the most successful, blending some analogue synth noises with some sparse heavy percussive hits and wailing higher tones, and utilising the classic grandfather clock tocking sound for steady heartbeat regulation.

Pieces like “He” have synths that move more towards 1970’s Tangerine Dream territory, deceptively simple and slowly evolving, though sometimes cut a little short and deprived of the full prog rock experience, while final track “Us” is notable for its deeper and more mesmerising drone.

It’s a fairly familiar-tasting blend of elements that doesn’t really push the envelope, but as a dark synth work with a filmic ambience, it’s smartly polished. One of those releases that really benefits from good headphones and a darkened room.