As documented in several previous ChainDLK reviews, I’m a sucker for the earthy and unique tones of a well-played clarinet. So when an album arrives on my desk pitched as an exploration of the various colours and textures of a bass clarinet, it generally goes to the top of the pile. This album doesn’t disappoint, and while it’s perhaps not as experimental or unique-sounding as I might have anticipated, it’s still a rich and beautiful, velvety listen.

Opener “Morton and György in the Battista Mist” is presumably a reference to Feldman and Lygeti, drawing simple and fairly uptempo two-note patterns over supremely slow atmospheric pad chords, in a manner that’s also quite Glass-and-“Koyaanisqatsi”-like. “Those Behind Us That We Follow” follows and offers a platter that’s more romantic and melancholy, the expressive melody floating loosely in some windy atmospherics.

The second side brings the pulsing and electronic aspects slightly more into play. “Incantation 3” sits in a kind of emotional middle ground or holding pattern, before “Delayed Monologue” gets more playful with long delays on notes and more extensive layering-up, resulting in some intriguing melodic contrasts- as well as some oddly didgeridoo-like low sounds. Final piece “The Manmaipo” also makes extensive use of delays but with a more sparing set of source notes, giving a sort of sad bounce, akin to being musically past caring.

It’s barely over half an hour long, which is perhaps justified through the relatively low amount of sonic variation, but what a luxuriant and satisfying half hour it is.