Death-Static is the new solo project of Gareth S. Brown, a Leeds-based musician who has previously released music, either as a member of the bands Hood and Canvas or solo under his real name and the aliases of The Unpleasants, Jerstice and Royal-Librarian. He is a current/occasional member of Memory Drawings and The Declining Winter, and has collaborated in the past with Western Edges, Joshua Norton Cabal and Soar Throat. His music has been released on labels such as Domino Records, Misplaced Music, Home Assembly Music, Hibernate Recordings, Zozaya Records, Second Language, Signal Records and many others. My only familiarity with the work of this artist comes through Memory Drawing releases on the SIS label which I have reviewed here previously. Those recordings are quite different than what we have here.

'Time Is Ignorance' is comprised of six ambient compositions of melancholic textures and dark soundscapes with single word titles, for a total duration of 50 minutes. "Final" (odd name for a first track) begins nicely enough with a repeated single tone in the mid and bass range, followed later with a higher pitched tone which expands into something harmonically richer. While the mid and bass continue pulsing, the higher tones sustain, then turn organy. I find this reminiscent of the minimal experimentation of Moebius & Plank. It's a long hypnotic piece (9:03) but does not wear out its welcome. "Rentry" is established on a base of long-form synth chordal pads with organ undertones, melodic in a church-of-the-sky sort of way. More organ on "Delay" which obviously gets its title from some delay plug-in employed on the chord progressions. Some tinkling keyboard melody is added towards the end. Sparse, minimal, broken, repeated piano melodies are the mainstay of "Return," before other subtle elements arrive several minutes into the piece. The melody is expanded upon chordally, but I found this one way too long to maintain my interest. A halo of flies or a hive of bees? That's what you'll be wondering about the buzzing in "Latent Body." Out of the honeycomb arises an ambient underpinning making this one of the most interesting track on the album. We're down to the last track on "Ready," a long one at 11:08, and at its base it is a series of lengthy sustained tones in a sample repeating progression. Over that comes (later) a high, bellish three-note sequence. Following that, organ chords slowly riffing along the same lines. The organ grows in prominence. It has a kind of religious motif, sort of like a new age funeral. And there we have it. For me, there is a bit too much organ on the album, but some parts would be well worth your time. Limited to 200 numbered CDr copies in the usual custom handmade Sound In Silence packaging.