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Thankfully, Dens’ seeming madness manifests itself in music so uncompromising and off the charts of classification, it convinces you that any kind of sonic innovation at this late date demands a bit of mental instability. By way of explanation, Dens says, “People forget that there is only magic in this world, mostly black, nothing more.” In other news: You will never confuse this Innercity with Kevin Saunderson’s Inner City. ABABABABABABAS (Blue Lion Child) makes Dens’ rather strange first album on Further, 2012’s A Lion’s Baptism, seem like radio-friendly fodder by comparison. The producer admits, “This release is surely one of my harsher, bleak ones… I tried to keep it pure, and again bleak. Also put the keyboards in the shelf for this one; it’s all guitar and violin through an array of effects…” “BAAL’S (KITTEN TRUMPETEER CHOIR)” fades in with what sounds like waves of harsh, scalding feedback-let’s call it “the black metal of ambient.” Dens conjures pitiless, post-apocalyptic atmospheres, but imbues them with a residual glow of dignity. The tidal “MASKS AND MOLD MATTER” could be a noir soundtrack that’s too weird and nightmarish even for David Lynch. Its main sound source sounds like the irradiated molecules of a psych-rock guitar riff by Chrome’s Helios Creed. What passes for a respite in Innercity’s harsh sonic universe comes from “RARAGRAMS,” whose ill oscillations seeming