I don't get it. I simply don't get it. Waves of amorphous condensed sound are pretty common in the music I like.  And yes, synthesizers can become incredibly dominant in ambient, drone, experimental, etc. I understand that it can be a challenge to listen to such formless music all in one sitting (or at all for that matter). But if you make it through The Silent Breath of Emptiness like I did, you certainly deserve a much better record (and a cookie or two).

As far as I can tell, orchestramaxfieldparrish is an inconsequential, unimportant, and wholly meaningless name. Beyond that, there's little I understand about this record. It has zero appeal to any fan of the genre. There is no direction, theme, or even a "good" sounding part anywhere on the whole album. If you want to hear a stock synthesizer preset wail away for eight minutes, "Part I" may be for you. When you're ready to take on more lugubrious patches, graduate to the colossal letdown that is "Part II." If you thought it was over, just skip on over to "Part III", if you haven't short circuited your right arrow key by drowning the damned machine with your tears. If you make it through that sixteen minute...um, "epic", you'll be surprised that your crazy aunt who moved to California to pursue New Age music and smoke salvia has graced The Silent Breath of Emptiness's last track.

If you asked me to classify this album further beyond just ambient or experimental, I would reply, "a potpourri of all things wrong with leftfield music." Any kid with a synth can press a record these days. I just wish orchestramaxfieldparrish hadn't.

-Jack Britton