It’s the lingering of sounds that interests Ian M. Hazeldine. Each note is a point of noise that decays over time, sharp at first, then aging, dissolving and becoming inaudible. These musical representatives of physical piano keys die humbly like waves on a beach, though the keys themselves—located somewhere in North Wales, snug under the lid of his instrument—remain rectangular and solid. Here we have cello and violin, a church-organ keyboard in “The Gospel Pass”, a few intrusive vocal samples and ongoing electronic manipulation. Winds hiss. Strings are made to reverberate and surge. He isn’t the first musician to have tried an ambient sound like this, but he has a terrific instinct for timing and spaciousness and a taste for the kind of chamber music tone that creates a sense of gravity.

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