Track 1 begins with this intense, high-pitch carrier wave that is heard on Channel 1 of the Swedish Broadcasting Corporation when no content is broadcast, in the night. However, fragments of other broadcasts leak into this carrier wave, appearing like whispers of a ghastly kind, stereophonically very viable, or unintelligible speech on a short-wave receiver.

After a while, a familiar voice kicks in, mid stage. It’s Adolf Hitler. The unusual thing about this Hitler speech is that he is not screaming and shouting, but talking calmly, reasoning with the listener. This makes the effect even more frightening, I think. It’s a speech from January 1933.

At times during this speech I pitch the carrier wave down, in a couple of different bands of short durations.

Later I pitch down the whispering leakage so much that it turns into a dark, ambient rumble with the contour of the original leakage. This I varied in different ways, the rumbling linguistics dancing like long shadows across the fateful Hitler speech.

The Horst Wessel song kicks in and as the rumbles fall away, and is fragmented and mixed in several bands, the trumpets resounding and the cocky soldiers’ voices rushing back and forth. Hitler falls silent, leaving this mess of Horst Wessel to itself and its radio carrier wave environment.

Track 2 begins right off with a quote from a radio debate about Israel and Palestine and Iran. The quote, a male voice, says:

“Israel waged war in 1947, 1948, 1956, 1967, 1982 – Israel has bombed all its neighbors”. (Even though it's a fair objection that the State of Israel could not possibly have waged war before its formation in 1948, the statement that constitutes the war mantra mentioned below is quite strong)

This utterance is then used as a mantra in three channels; one with the original voice and two channels pitched a little up and down, respectively. It keeps looping. I also took the section with the years and manipulated it to sound very harsh, like through a ring modulator, and stuck it into the loops.

Suddenly all falls silent, and some way into the silence Hitler appears again, loud and clear, with a short statement. Then again: silence. After the silence the war mantra continues. Several long silences are inserted, with short statements by either Yassir Arafat or Adolf Hitler.

The war mantra gets denser and denser, layer after layer added.

Track 3 begins with the original carrier wave, and then Hitler again speaking, but soon he is surrounded by two old Hebrew cantors, singing their prayers at left and right, while Hitler is heard in the middle. Later the Egyptian singer Om Kalsoum appears in several of her songs, left and right, until Hitler leaves the middle of the sound to split up and talk erratically both left and right, while Om Kalsoum, in her strong voice, appears in the middle.

Later dark drones take over, as muffled distress calls are heard inside the dark ambience. The war mantra is inserted briefly.

The dark ambience is slowly filling with the last part of a piece in the works called Dialectus Gothensis: a shattering, watery ghost chatter of unintelligible speech, ominous and hopeless. This dark sequence continues for four, five minutes, until it is dissolved into the FM carrier wave that began the work. This is then slowly faded out. This is dark music.