Last Seen is nothing like what I expected it to be. Based on Australian project Blank Realm’s stylistic trajectory on their last few records, one would probably anticipate a slightly adventurous rock outing with some psychedelic leanings. Instead, Last Seen embraces an almost completely new sound, flirting with a variety of elements from ambient, drone, and electronic music. Fortunately, unlike comparable progressions of other artists, the move toward a less rhythmically grounded style does not result in a directionless mess. The 7 songs balance catchy, synth-inflected pop pieces with lengthy ambient passages, both of which are accomplished remarkably well. The highlight of the record might be the ten minute centerpiece “Revanche,” which evolves from a lush drone into a hazy, psychedelic coda; not only is it an amazing track on its own, but it also serves as a demonstration of the skillful transitions that allow the album to work so well. Last Seen marks an exciting new phase in Blank Realm’s career, and I’m glad that they chose to be inventive and take risks rather than recycle what they know works. It’s an album with a lot of layers that I still have to unravel.

On Louis Schumacher’s second release as Jiang XiaMeng, he aims to “take onkyo and noise from their usual contexts and place them in the mundane world.” This is accomplished via the duality found on both tracks, each composed of extended field recordings and active improvisations using the components described in the album’s title. The contrast achieved is an interesting one. On “真っ白,” impossibly thin feedback loops and the quiet use of objects form unique harmonies with the sounds of people entering and exiting a library, while “真っホワイト” sees much noisier mixer and pedal manipulation placed atop a recording of a busy road at night. These juxtapositions are odd, to be sure, but also fascinating and pretty. There are subtle similarities to be found here: the opening and closing of the metal door on “真っ白” bears resemblance to the mechanical feedback, and the artificial whooshings of “真っホワイト” are not unlike the distant sound of the cars passing by. It’s an unlikely result that gives the album a charm despite its obstinance, and allows even the most unusual and difficult sounds to have their own beauty.

Un punto donde todo se desvanece is an album that toys with beauty, teasing you with moments of gorgeousness amidst tension and darkness before they dissolve and you’re left wanting so much more. While the first two tracks eventually reward patience with majestic climaxes, the third, “El llamado imperceptible,” works magic through tantalization. Its airy choral samples and distant electronic flairs expand and contract with amazing ease, with brief respites in anticipation only occasionally granted throughout its extended length; a structure that somehow makes it even more sublime than the wonderful songs that preceded it. Argentinian musician Dyb displays a tremendous patience and compositional skill on Un punto donde todo se desvanece; this is music that really takes its time, but at nearly an hour in length it doesn’t even feel very long. Nothing feels forced or pushed along faster than it needs to be, but nothing overstays its welcome either. It’s a fantastic release from this promising artist, from whom I would definitely love to hear more in the future.