A 22-minute, simpler-than-usual discoloured pastel by Asher Thal Nir, not less interesting for the aficionados of this introverted sonic photographer of plumbeous afternoons. Factors: the ever-present hiss, very evident in the mix (this time it’s mostly outside wind, though). A piano, possibly the same cheap instrument utilized by the composer in Graceful Degradation. The crackling noise of the chair. The label’s website also reports “brass bells” but I wasn’t able to locate them. The succession of the events remains similar throughout: starting with a continuous background wash, the piece is built upon a few sparse notes rendered tremulous, almost out of tune by the poor quality of a tape that sounds as if it was utilized a couple hundred times. Is this a studio trick instead? We really don’t want to know. Even the smallest incidents are featured at regular intervals, again and again. The whole depicts a loop, one would say: the same melancholic circle in the life of dejected souls unable to abandon the old track to look for something different, just waiting for the end of existence without having done anything important, ultimately realizing that they have been always following, never leading. Asher is a specialist of this kind of soundtrack for those fascinating, if depressing segments of humanity, although he can’t possibly control what happens in the mind of a hyper-observing reviewer who applies the artist’s craft to social analysis. Some people believe they can, but that’s another story.