Ourea I, like much of the Grey Area music pushed by Sam KDC, ASC and Horo founder Presha, has tracks that operate at different tempos at once. The almost frightening "From Chaos Came Erebus" feels quick and lumbering at once. The detailed soundscapes on that one and "Adamantine Sickle" are huge and dynamic. "Dysnomia" is claustrophobic, an already suffocating rhythm track attacked by drum fills from every angle. It gets denser as it rumbles along.
Each track is an update of the Grey Area sound and the experimental drum & bass-techno hybrid that Horo specializes in. Only "Deception At Mekone," with its dubby snares, interlocking polyrhythms and monotonous melodies, feels like it could have appeared on previous Horo records—everything else is mightier than ever. Horo has new visuals to go with Ourea I, which suggests the label could be entering a bigger and better phase.