Ben Glas doesn’t just compose music - he sculpts perception. "Music For Listeners (2)", the follow-up to his 2020 release "Music For Listeners", continues his deep dive into psychoacoustics, auditory illusions, and the physicality of sound. This is not an album in the traditional sense but rather an experiment in listening itself, where sound and silence hold equal weight, and the very act of hearing becomes the performance.

Glas’s work often revolves around experiential music-making, exploring how sound interacts with space, the body, and subjective perception. Here, he refines that focus, using minimalist yet precise structures to guide the listener through an intricate maze of otoacoustic tones, spatialized drones, and moments of absolute stillness.

The album’s tracklist is structured like a series of propositions - each piece posing a different question about the way we perceive time, resonance, and the role of silence. Between moments of sound, carefully placed pauses serve as a canvas for inner reflection, amplifying the listener’s awareness of their own hearing. Tracks like "cochlear sing-along-song #1 (ear hear, ear do)" and "a polytemporal clock (spatio-polyrhythmic breathing room)" use frequency manipulation to create auditory illusions, turning the listener’s ears into both instrument and stage. Meanwhile, "a series of relativistic waves (hello)" and its counterpart "byebye" feel like sonic greetings and farewells, bookending the experience with subtle shifts in perspective.

What Glas achieves here is both playful and profound. He transforms psychoacoustic principles into a deeply personal sonic space, where even the briefest moments of silence feel charged with meaning. "Music For Listeners (2)" is not an album to be passively consumed; it demands engagement, inviting the listener to explore the edges of their own perception. Whether encountered through headphones in solitude or speakers in an open room, it reshapes the act of listening into something fluid, participatory, and endlessly intriguing.