White Moth is yet another stunningly original and mystifyingly "out there" musical project led by Denton, TX-based musician and composer R. Loren (also of Pyramids, Sailors with Wax Wings, etc.), and its guest-studded eponymous debut album brings a new meaning to the notion of organized chaos. Truly an album with a capital "A," this is a full-fledged musical tapestry awash with what appear to be millions of instrumental fragments, both electronic and analog, that converge in a disorienting but clearly highly organized din: part noise rock, part black metal, part horror ambient music, part mechanized industrial music, and, according to its lead visionary, to be summarized as digital hardcore. Amid all this, spectral voices interlace across tracks like "Two Women, Knitting," "You Texas, Dark Star," and "Blood and Torn Grass," while others resort to rapping ("Shoot the Clock") or outright screaming (on the black metal-infused "The Sea Was Black Meadow"). And in the two intensely droning pieces -- "There Was a Man with Tongue of Wood" and "To the Cathedral" -- that bookend the LP, everything starts feeling like a white noise experiment for the ages. All in all, White Moth's labyrinthine tangle of musical ideas is obviously quite difficult to penetrate, and not for everyone by any means, but utterly enveloping for those who do get through.