According to the information on hand, the music of Proximities was created by “recording a performance of a series of tones played on an old battery powered PAiA Oz, that were determined by the letters A-G as found in a text by minimalist sculptor Donald Judd”. Roden recorded “the tone sequence several times during sunrise, amidst 50 of Judd’s stainless steel structures”. Sound processing of the recordings was provided by an “extremely resonant space” in which the sculptures resided. For you gearheads the PAiA Oz is an eighteen-key, kit synthesizer from the 1970’s A pdf is available from the PAiA website (http:// www.paia.com/) of an article (http://www.paia.com/manuals/docs/oz-howto-article.pdf ) about the little analogue synthesizer. The result is one 40+ minute track of droning ambience, mastered by Taylor Deupree (an interesting artist in his own right). Between the kit and the process this recording sounds rather intriguing, does it not?

Drone? Sound? Art? It’s always a question, at some point, with such recordings whether the music can be worthwhile as a listening experience with the not inconsiderable loss of the visual aspect. On listening to Proximities my answer would definitely be in the affirmative; the music stands alone as a satisfying experience. Admittedly, listening to this album one does experience a bit of deja-vu, in a pleasing way, in that this is somewhat familiar territory for ambient and drone aficionados. While the synth drones ebb and flow with an almost harmonium-like character, time loosens its grip upon one’s consciousness under Proximities’ influence. The experience is ephemeral, but it’s one that holds up with repeated listenings.

After enjoying Proximities several times, I can say it is not too far away in sound from work by artists like Rafael Toral, Ryoji Ikeda or some Nurse With Wound (Soliloquy for Lilith?). It may even possess a few elements in common with dark ambient music, say S.E.T.I. or Galerie Schallschutz (HAARP?), but Roden’s music is not ‘dark’ in any obvious way. Roden’s music on Proximities may best be described as ‘neutral’ in that whatever emotions or images the music conveys to the listener are the product of the listener’s experiences and prejudices. Essentially, this is drone music that is whatever you want it to be; no programmatic rules necessary for a satisfying listen.