“Backmasking” is a technique that involves inserting hidden messages into audio recordings which can only be heard when the track is played backwards.
It is mostly applied in the search for subliminal messages or in association with auditory hallucinations, paranormal activity or supposedly satanic rituals.

The audio is triggered by an insistent and repeated reversal, inversion or overturning of verses and the calls of barn owls, scops owls, nittiwakes and lynxes.
This results in a ghostly, sinister track, malignant and at times devilish, charged with omens and psychological implications. We could imagine it as a quarrel among witches, a compendium of evil spells, a virtual ill omen, like a landscape of wartime desolation and environmental destruction. It is a succession of rages and lamentations, of cries and malice raging against the recrudescence of the spaces and freedom of life forms, against vicious, rampant suppression, against torments perpetuated daily.
Huffs and wheezes, grunts and hisses, squeaks, croaks, shrill words, guttural snorts, and fraught, slowed-down chirps overlap, evoking a circle of hell, a purely auditory, atavistic and primordial atmosphere.
For few minutes, listeners enter an unknown, dried-up, magic forest, whose voices are flayed, unfamiliar and undecipherable. In their inversion, no enigma is resolved; nothing is revealed, no coded or disguised message, no acoustic pareidolia. What they do announce is their profound animal culture, these almost palindromic vocatives that echo, reverberate, beckon, evoke, approach and creep inside the temples, overflowing and returning, pervading without touching.
In the end, something ghostly remains, the shadow of an immemorial order and a prelinguistic instinct that should be heeded.