Hari has eight tracks, four on each side, totaling just over 30 minutes. The subtle, immersive first half eases into action with the title track, a mellow, syncopated cut layered with hissing atmospherics and low guitar stirrings. "From Stem To Stern" briefly hints at the confrontation that comes later—its brooding percussion sounds almost like Ancient Methods, and there's a distorted lead that wheels around in a deranged fashion. "Image Union" is a return to clear air, with lo-fi choral drones and percussion achieving a hazily hypnotic effect. "Behemoth" soars even higher through endless expanses of warm, blissful noise.
The mood instantly turns darker and more fraught on the flip, beginning with "Frame Capture." This one is as close as Hari gets to conventional 4/4 techno, but growling mid-range, intensifying drones and harsh squalls of feedback give it a fluidity and emotional impact that place it far above much of today's stoic fare. What follows is perhaps the record's most visceral cut: "Meniscus," produced by Downwards favorite Samuel Kerridge using source material from Talker. The pairing is perfect, with Kerridge's indecipherable, sermon-like ranting delivered amid a storm of sparse, booming drums and deep-fried distortion.
A blur of broken beats then brings about Hari's finish. "Anthony" is a minute-long bout of cacophonous peak-time techno, and "Phalanx," laced with ethereal ambiance, surges triumphantly to a sudden end. I wish a few of these tracks were longer, but that's a minor gripe. Talker's wide-ranging yet focused approach makes for an excellent record, one worth listening to from front to back.