It’s perhaps a little too easy to compare the stately drift of Oakland composer/producer Mark Harris to that of peak Brian Eno, but the comparison stands. The music’s ebb and flow echoes the ambient innovator’s most emotive and expansive moments, including Music For Airports and the second side of Bowie’s Low. Yet there’s a highly individual process at work here. All the tracks were created using sonic components gathered during the creation of the title piece. The result is an album which is consistent in terms of sound and mood.
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