Some of the pieces are intentional details of singular sonic elements: both the opening "nchr.01" and "nchr.03" focus exclusively on singular stringed instrument sounds, left to repeat for lengthy periods with only the most minute changes in dynamics and layering. The changes and variations are there, but are extremely subtle, with more electronically effected sounds serving more as accompaniment to the organic sounds rather than being the dominant focus.
This is a pretty stark contrast to tracks like "pvn.," which opens with subtle ambient tones and cricket-like loops, while plucked string notes are there and clearly defined, the focus becomes much more on the processed sonic elements, via spacey pitch bent tones and more low frequency percussive thuds. The final minutes of the track pile on the effects and noises to a level of pure chaos. This dynamic carries over into “l. fll.” which, though opening with a large pastiche of silence, eventually becomes dominated by digital clicks and cuts over plucked string notes. Piano sounds are allowed to appear in their natural state for most of the piece, but the digital elements are much more the focus.
Unfortunately, these tracks are almost too chaotic for their own good, and the shift from subtle repetition to erratic texture shifts is a jarring one. Tracks like the symphonic "nchr.04" are among the most satisfying, balancing the natural with the digital well.
This is a good debut release, and the concept of limiting ones self to a single sound to create an entire piece is a good one, and definitely goes beyond the limitations of a Boss DD-5 delay pedal that Akifumi Nakajima was too reliant on, but the actual structure and composition needs more attention. A greater focus on development and sequencing as opposed to just a quick transition between moods and textures would be a definite asset to future releases.