Split into two distinct sides, the album opens with a scrape of wood and metal that introduces us to the nyckelharpa. Scratching its surface and strings, Collin reveals its peculiar tonality, while Demdike cut through its dissonant textures. Like ancient campfire rituals recorded to decaying 1/4" tape, the music on ‘Minerals’ feels as if it's in dialog with the past, shuttled into the present by abstract processes. By the side’s third act, resonant gongs billow around pitched wails that eventually collapse into silence.
The second side is more spirited, opening with a thumbed kalimba cut through reverberant strings that recall Arthur Russell's iconic echo-drenched recordings. Through elaborate concréte techniques, Collin's ancient fiddle dissolves into a ferric gloop that’s slowly pulled apart like toffee, taking it to a place where you can no longer really tell what you’re listening to or how it was made. In fact, unlike pretty much everything we’ve heard from Demdike before, the material here feels mechanical rather than electronic, making for one of the most impactful, unusual releases in the vast sprawl of their catalogue thus far.