At the time P. Emerson Williams was working on a followup to Magog Agog for Nocturnal Art Productions. He first wrote and recorded an album based around the demoness Lilith. This was an intense experience for he had been working with Lilith for a lot of his twenties and this came out of another realm. He closed the sessions with a ritual and put the recording to bed. Upon returning to the master to run a copy off for the label, the tracks which were mixed to DAT, were unaccountably replaced with white noise, underneath which could be discerned gibbering and laughter. When he checked the multi-track masters all he found was silence.

An accident or demonic disturbance is what you'll hear if you brave this.
The very ambitious modern classical/metal/electro pieces were replaced with this wall of sound. He did do a little creative eq to pull forward what sounded very much like voices and percussion. (And also to make sure they were not auditory hallucinations, like when you stare too long at snow on a tv screen…) The sound was tweaked quite a bit because what was most audible was a wall of high frequency white noise. A lot of the sounds that come through here were retrieved by isolating frequencies and saving narrow ranges of frequencies as separate tracks.

It seems that what P. Emerson Williams heard through the noise was actually there. Even a moment or two of keyboards, which were all that he could recognize from the original music even though they were way behind guitars in the mix.