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Yet it doesn’t seem to care if you like it or not. Because it lacks Basinski’s usual layers of lo-fi murk or Schaefer’s predilection for harsh sounds, it’ll be more easily accessible to newcomers than most of their work. Like so much of the best ambient music, it feels like something that’s just happening rather than something that’s been meticulously assembled, which is why it might take a few listens for the level of its craftsmanship to sink in. on reflection doesn’t really seem to adhere to human instincts. It’s a little frustrating at first to not be able to spend more time in this space, but. Then, not even six minutes later, the piano loop reassembles itself, and the album proceeds as if nothing has happened. Little electric zaps flit across the stereo field, as if we’ve suddenly stepped into a clearing in a forest and can observe comets shooting through a vast night sky. on reflection (three),” the piano cuts out and we’re greeted by a deep, meditative organ drone. allows for fast single pass color scanning with no additional filters. Though it’s really one piece, it’s split into five numbered tracks the two tracks that bookend either side of the record are based on piano, but in “. transparent and 3D scanning of still objects. on reflection has an interesting structure.
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It works well as an “experiential filter,” as a past review described Basinski’s music, or you can really focus on it and track its movements as a piece. That’s not to say there’s one “correct” way to listen to it. on reflection outside, letting the sounds of your own environment blend with the music, you might not process or even notice how much is going on in the back of the mix until you give it a focused listen in a quiet place. The piano loop sounds stagnant at first, and it might take a few listens to notice how many different little vamps and motifs have been Frankensteined together. on reflection thinks on a bigger scale it seems like it’s about everything.īecause we’re really just hearing two things here, piano and field recordings, it’s easy at first to overlook how complex this music is. A lot of the best recent ambient albums make heavy use of field recordings, often to create a sense of relatable, everyday domesticity or reflect the artist’s specific memories. The piano seems to cut through the landscape, revealing layers of history previously unseen it suggests a time-lapse of a canyon being created, or of a civilization growing along the banks of a river. If Basinski hadn’t already called an album The River, it would’ve been an apt title for this one. The real story unfolds in the margins: field recordings of birds, machines, vehicles, distant murmurs of crowds, shouts of children, a spooky little metallic shimmer every now and then. But aside from the occasional burst of dubby echo, the piano remains unblemished. To anyone familiar with either artist’s catalog, it’s shocking how pristine the piano sounds, and we expect that it’ll eventually be submerged in vinyl crackle, tape hiss, and effects. The two musicians spent eight years raiding their undoubtedly vast archives of piano loops and stitching them into the backbone of the five-track, continuously flowing record.