Structured around thirteen songs, HYBR:ID III opens up a new and exciting ambient world and a very intriguing look at Japanese Noh drama. More reserved than the arguable more well-known kabuki plays, representing Noh through Western musicology is a journey in itself; the instruments, masks, and stark minimalism are often alien concepts to Western culture, however, like the Rosetta Stone, these can still be described and detailed using a different voice than in which it were originally created. Starting with the minimalist side, HYBR:ID III builds its soundscapes utilizing each element to its max instead of piling on multiple layers and taking the heavy handed approach. By doing this, the underlying oscillation can take the center stage (pun somewhat intended) and become the main character; its subtle movements up, down, and side to side reflect the lead performer's hand gestures, head movements, and choreography. Adding to this strong, moving layer, Alva Noto sprinkles in varied elements and tones that add color and dimension to the composition, all well thought out and effectively timed. This continues to further the mainline's trajectory while adding wonderful character to the overall soundscape. Everything here is done with care and each addition is perfectly restrained. There is never a moment of, "oh no, too much," and HYBR:ID III carries this banner through its entire runtime. However, there are moments with louder, more crispy noises that challenge the line's resolve, much like the antagonist in a play. And just like the well written villain, this again only adds to the whole, never distracting from the picture on display.

 

Subtle and effective, Alva Noto's HYBR:ID III is an interesting ambient take on Japanese Noh drama. While its sounds and statements could also double as the soundtrack to someone adrift in a space station, the album works very well to utilize every tone and oscillation to its fullest, keeping an active soundscape while also leaning more towards the minimalist side of the spectrum. While there are elements when HYBR:ID III breaks loose a bit and stretches out, these are few and are well done pieces of punctuation and exposition. HYBR:ID III is a smart and dreamlike work that, although constructed with very few layers, provides for many repeated listens and dissections, as its openness can be interpreted many ways depending on one's moo