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The WireFeb 23, 2018Absolutely gorgeous. ... It’s as clear, translucent and dazzling as the medium it both plays with and describes. [Mar 2018, p.52]
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Feb 20, 2018On reflection, Glass exemplifies what a beautifully mysterious form ambient improvisation can be.
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Feb 20, 2018Patience is the key to the evolution of Glass, using tonal shifts and ghostly textures to compliment the improvisational mastery we are bearing witness to, whether or not it becomes something much more ghastly than beautiful.
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Feb 21, 2018Ambient music centred on glass sounds is nothing new, of course, but the duo's ability to take such a well-worn concept and turn it into a piece so meticulous and touching is a testament to their uniquely fruitful partnership.
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Feb 20, 2018Even though Glass has a lot of physicality to it, it’s gentle in the ways in which it fills our space with its presence. It’s a record one loops for the evening and unconsciously forgets about it, only to wonder what is missing when it stops playing.
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Feb 20, 2018Abstract as most of the sounds on Glass are, and as unstructured as the improvisation is, there’s something considered at its heart. The tones, though still sharp as glass shards, are infused with a warmth that slowly permeates the final moments of the piece.
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Feb 20, 2018There's an intense and cautious feeling to Sakamoto and Nicolai's approach, keeping everything at a constant volume and introducing changes only gradually. Glass is good for close listening, trading narrative for pure texture and mood.
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