Perfect Aesthetics output has never wavered, releasing music that treads an envious line between insistence and the disavowal of your attention, ambience that allows your attentions to drift before being dragged back to focus sharply on the audio. J Carters newest is no different.
Drawing from what is seemly an endless list of esoteric influence, these pieces where written with a full toolbox. We open with a piece that could have fallen from the New York school of contemporary classical circa 1950, with two pianos fluttering between unison and conflict, constance and dissonance, never quite allowing you to settle in the moment comfortably. The soundscape that rises up to envelop the piano is a welcome update.
Beautifully crafted moving harmonies in the pad synths of every gift demands a sacrifice are reminiscent of medieval choral music, slowed to a glacial pace, dashed up against Vangelis style searing synth leads, evoke particularly lucubratory composition. The pure noise washes become meditative and the pads disconcerting, a difficult balance to pull off.
The album finishes with a thin but vast soundscape, the minimalism in instrumentation and arrangement, allows the music to evoke a cavernous sense of space around it. Like much of this album space and silence is what gives these tracks their magic. The sounds occupies a tiny fraction of a larger whole, like a loosed arrow.