Machida believes that oblivion has a postive aspect in nature. This is because it is a part of the natural world, which over time creates changes in the world. Having said all of that, the artist certainly must feel a deep spiritual connection to the pieces archived on Hypernatural #3. Yet without the liner notes to guide one down the path, it would be in the least very difficult for one to surmise the theme. These pieces include multiltudes of interesting sounds, and on their own are entertaining, lively, and seamlessly assembled. Yet it's not always easy to detect the naturalist aspect. " />

The album does include some sounds obviously sourced from nature, whether it be birdsong, insects or water, which under the circumstances is very fitting. Other pieces sound sourced from musical instruments, and appear to be heavily manipulated via computer. It's a mystery as to how these pieces connect to the theme; perhaps the idea is to reflect the randomness of nature by assembling the album in a purposefully fitful manner.

Whatever the reasoning, the music stands for itself as high quality ambience in the very least. It's not ambient in the sense that it works only as background music. Active listening is required to pick up on the various sound sources. The pieces which include outside recordings are especially involving; recordings of Buddhist Nuns are blended beautifully into more difficult to identify field recordings. Scene 27; Symphony takes a sparkling recording of breaking waves, and slowly transforms itself into a glitchy keyboard piece.

The Hypernatural series is obviously a labor of love for Yoshio Machida. Though he treads several paths well rutted by others, he does so with enough care and enthusiasm to separate himself from the pack. In the long haul, it's worthy of the time you may need to dissect it.