An established New England artist, Murray has worked in the framework of "drone" for quite a while now. Before it was the trendy thing to do, I might add. In that respect, it is no surprise that his work transcends the "let's see how long we can sustain this note for" school, but more of the pure, dissonant minimalism akin to the old masters like Niblock and Xenakis. What comprises this album then is therefore dissonant and difficult, yet compelling and hypnotic in its brutish subtlety.
Indexed as a single 49 minute piece, "Commonwealth" is apparently based on a combination of guitar and analog synthesis, all of which was subject to heavy digital processing and manipulation. It is hard to discern the actual instrumentation, however, because the sound resembles a consistent, never-ending machinery hum. The mechanized din never relents throughout, yet it becomes hypnotic in its superficial simplicity. Listening closer, the subtle shifts and changes in tonality become more and more apparent.
The fact that the piece has that constant mechanical quality lends greatly to the listener developing their own interpretation of the sound. At times the track reminded me of a well used, contact mic'd air conditioner, and at other times it could have been the last remaining echos of a symphonic orchestra, held and repeated for infinity. It is the sonic equivalent of staring up at the clouds and finding various shapes that other cannot see.
The style of the disc stays pretty consistent throughout the duration: the rumble never really lets up, though the shifts in pitch and tone are drastic enough that it never feels overly repetitive or dull. Instead, it becomes entirely captivating in its ceasing to relent. The most dramatic shift is towards the final half of the piece in which the volume slowly begins to drop, and the rattle becomes more of a hum, going from machinery clanks to the peaks and valleys of a sine wave.
Murray's meticulous attention to detail is what makes this disc such a compelling work. Although it has that seeming level of simplicity, a close inspection reveals so much more to the work, and a level of structure and composition that puts him squarely in league with the likes of Francisco Lopez and Achim Wollscheid and other big names on the scene.
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