The composition splits itself into two parts totalling 20 minutes. As you might expect from a one- man-jam, any superfluous sound generation is eschewed, leaving Goldmann to fuck with the few bits of gear within his grasp (which apparently included a Theremin-controlled Fuzz box). Once his drum machine is set in motion, progression rides angular waves of ear splitting distortion. Oni Ayhun's feedback-fuelled "OAR004-A" is an obvious reference point here insofar as they both test the listener's tolerance for noise within the setting of a dance track. But where Ayhun controlled and curtailed the chaos, Goldmann willingly unbolts the cage, allowing the thing to jump up on the couch and shriek ceaselessly.
The sentiment behind The Maze may be more powerful than its form, but try naming other producers launching sonic assaults upon the house music canon from within, and you still end up wanting to pat Goldmann on the back.