Radar is an interesting work of musique concrète and sampling. Through an intensive use of effects, possibly pedals and feedback, it immerses us in a mysterious experience, as if we were exploring a giant abandoned factory, with old equipment still slowly dying and entire areas completely flooded.
What stands out the most about the project is its exploration of soundscapes. The album's title is quite fitting, since the work seems to have a beat that comes and goes, speeding up and slowing down, as if it were following the pulse cycles of military radar systems. There is also something connected to radio, through sounds that resemble CW transmissions drenched in effects, as well as voice transmissions that are almost impossible to understand.
The decision to open the album with the sounds of a supermarket cash register is quite peculiar, like a brief connection to reality that quickly fades away. The only interpretation that comes to mind is that someone is buying supplies before setting out on an urban exploration that will lead them into the depths of an abandoned bunker. Or perhaps it is simply an expression of the human psyche descending into a kind of delirium.
The track that caught my attention the most was aqueous cavern industrialisation, which feels like walking through the old underground level of a factory, flooded up to your knees, wearing a suit that makes it difficult to see, lit only by a flashlight, while searching for something you know will be very difficult to find.
In the end, Radar is a claustrophobic and cinematic album. It is difficult to fully grasp the concept behind it, and it can easily fit whatever interpretation or conclusion the listener arrives at, whether from a psychological perspective or through the lens of science fiction.