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Farewell syndicates drone, white noise and plugged acoustics to give a moody surround-sound experience. The electronic guitars and vocals are heavily distorted, integrating the techniques of doom, funeral doom and of course drone metal, one of the many working genres of the collaborating Borisu.

Huge is more energetic, directing itself away into a mixture of noise and experimental in tactic, and throughout the duration of the track, there is no feature of vocals until the introduction of death growls five minutes in. Eight minutes in, the buildup of electronic guitars in the mannerism of heavy metal comes into a climatic end. Resonance displays favoritism for avant-garde, for its spaced out arrangement of silence, the echo effect and the disturbing  reemerging essence of the drums, very similar to a psychological horror soundtrack, specifically for the creating an uneasy presence.

Rainbow takes on a more uplifting demonstration of blues, psychedelic and ambient rock, with Wata the female vocalist taking the microphone, speaking in their native tongue to contrast Farewell, which had Takeshi Ohtani singing in English.  Sometimes emerges with a predisposition for IDM, experimenting with drone, and a play with progressive house before bringing back drone into its metal formation, and disturbed vocals mixed into the stutter effect.

Heavy Rain displays a merging of psychedelic, blues and avant-garde in temperament, the synthesizers being toyed with in a crazed manner, not too dissimilar to the experimentations of the late Keith Emerson during live shows with Emerson, Lake and Palmer. Wata’s vocals are attended by the introduction of Surf guitar instrumentation, and complimentary indietronica, and dream pop with drone intermissions. Akuma No Auta interchanges drone and doom metal into an eleven minute instrumental, tampering with classical metal guitar riffs.

Akiroma Flower‘s intro is playful, using random sound effects before Ohtani’s vocals are drowned over by the guitars which are the main conductor or focus in this instance in the formation of classic rock with a blend of alternative rock, to counteract the normal usage of an in-animate instrument being the flattering undertone of a song, by using the most understated instrument, the voice. It gives the illusionary distancing, like a form of reminiscing of a memory. Vomitself, the last of the contribution of Borisu on the collaborative album focuses the last singular track with a fusion of drone, noise rock and dark ambience, and is the more aggressive companion piece of Farewell.

Planet of the Cows, the first of the four tracks composed by Merzbow is an angry composition of psychedelic, noise and drone, and has an amazing resemblance to the deranged performances of Keith Emerson originally used on his mobile synthesizer – quite literally improvisation at its finest. It is hard to dismiss such an arrangement as having no direction, as that is the whole point, it is meant to disturb and create uneasiness with the listener as it is like listening to the screams of tortured souls.

Gokola Pt I continue into a similar format, only introducing more white noise and industrial compounds. II disperses from this, by adding dub-step qualities, breakbeat and techno, very similar to the works of Aphex Twin.  Prelude to a Broken Arm primarily utilizes white noise for the dominant underling of the track, making it sound like wind blowing down a mobile (cell) phone and distorting the signal, with slow transference to heavily disturbed electronic drum beats swallowed by deliberate interference.