The Silent Ballet:
What is perhaps the most attractive element of Haruki's outlook here is a strong sense of both the organic and processed elements of the sound presented. Throughout the release, there are several examples of the presentation of one sound world, then either the building up of contrasting sounds in a textural sense, or the furthering of similar source material in an entirely different way. This is true of "I know we talked about it but that doesn't mean I can never set here anymore, does it?," which follows something of a ternary structure, beginning and ending with totally unprocessed piano sounds, bookending a cut up piano, which retains the fullness of its sound despite this processing, furthering a unity.
Opener "branches" is the best constructed example of an understanding of colour combinations, a 4-minute set of textural contrasts, using a variety of digital distortions over more organic sounds. The use of these different sounds is a showcase of Haruki's ability to negate this notion of an experimental musician being simply a mirror of a machine and the placement of different sounds in the whole texture demonstrates a breadth of understanding of the subtleties in the tone colours handled.
Some of the ways that acoustic guitar has been arranged on bending wood, coupled with some of the cutting up and arranging of instrumental sounds, reminds me of a sparser Solo Andata, or perhaps a less flippant The Books, particularly on the Thought for Food album. However, this is by no means a condemnation of the originality of Haruki's sound, as the structural and textural organisation of these elements is one that does not confine itself to any unified description, yet achieves a one-ness through the way that source sounds are processed.
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