From Jackson, Mississippi, Nicholas Maloney carves a vision of lo-fi atmosphericana. Though there is some use of traditional instruments, like guitar, organ and banjo, Lignum Muzek functions more like a weather vane. Field recordings of natural spaces around Mississippi result in bouts of almost-silences, which are less sound, more detectable pressure change. But then there’s the occasional insect, a sheet metal’s melody. A barely recognizable trombone, the sigh of trees.

Minimalist in arrangement but planetary in room size, the longform tracks move between spatial experiment and texture-as-mood. Wood has a heavy presence on the album—Maloney saws it, throws it off a roof onto a shed. But musique concrète is just one of the tape's dimensions. There are affective swells, romantic and buoyant, but still they retain a climatological sensibility. The artist’s interest in pushing the listener’s focus leads to deep listening gone weird: Lignum Muzek evokes that feeling when the sounds of Earth suddenly become understood as cosmological events, alien, gorgeous, and terrifying.

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