“Hyperrealism” marks my first meeting with Noah Creshevsky’s music, which more or less is entirely made with juxtapositions of samples of pre-existing material, in particular operatic vocals and classic instruments but also exotic timbres, an example being the initial “Canto di Malavita” where, the Italian title notwithstanding, sitar scales are fundamental in the piece’s construction. Most of the tracks are full of absolutely improbable chorales, often verging on craziness; the record’s best is “Jacob’s ladder” where the voices mix perfectly with alien chamber parts. At the end of the day, how to name this kind of art? Let’s just say this composer has a knack for good sounding patchworks; maybe his music is not deep as, say, the untouchable (by ANYONE) minutiae of John Oswald’s plunderphonic but surely it’s aesthetically pleasing and – in some instances – quite surprising. It’s good to have a chance to enjoy these obscurities brought out of hidden vaults.