Igloo Magazine, October 2020
Which is why it’s all the more impressive to come across work from someone who was able to not just survive, but survive, and advance their art in ways that—importantly—uplift the audience as well. Near the Parenthesis’ new release Intervals, out October 16, 2020 on n5MD, is such a work. Near the Parenthesis returns after a four year hiatus to bring eight piano-based compositions that walk a delicate line between modern classical, ambient, and electronic. The opener “Center” sets the mood immediately, with a gentle minor-key acoustic piano melody that’s soon augmented with pulsing synthesizers and a swelling bassline, brought to a gentle climax before receding. The aptly-named “Second” follows with a variation on the theme, perhaps with a bit more of a backbeat this time, evocative of Nils Frahm’s epic “Says.” Arndt comments that beginning with the piano on these tracks made him “able to focus more on the instant gratification of sitting down and just playing.” These are indeed strange times, and it’s given to us to hang on to such positivity and comfort as we can find. Near the Parenthesis envelops you in sound like a warm blanket, providing sonic solace in an increasingly dissonant world.
Drifting, Almost Falling, October 2020
There has been a trend over years to have a hybrid Electronica and Modern Classical sound which in some occasions just feels like two styles bolted together without any sympathetic integration. With “Intervals” that issue is, well a non issue. Arndt as clearly show in the press quote above has a strong understanding in regards to composition. A track like the album’s title piece is one which Arndt demonstrates this so well by integrating piano, walls of synths, lush ambience and a rhythm not too dissimilar to slowed down drum n bass. Sometimes music can be swept up into emotional responses, whether it be nostalgia, melancholia, inspiration or anger. The quality that stands out for me is a relaxed feel. There are moments of introspection like on “Only The Ocean” with it’s lulling electronics and light and airy swathe of ambience, but on a piece like the retro-ish “Oslo” or the second half of “Silhouette” there is this strong feeling of unencumbered joy that seeps from the music. Sometimes the sadder feelings are hard to shake from music that centres around the piano as an instrument, but with electronics and an a joy that comes from creating pieces where the artist is clearly in a positive mindset, it really shows throughout this album. One of the qualities that is less obvious initially is the layers of ambient synth which really add atmosphere, colour and light to the pieces. In some way they are the meat on the bones (or skeletal structures) as alluded to in the press quote above. No clearer is this demonstrated on the uplifting “Muse” which uses many layers of sound as well as the most minimalist, but propulsive beats on the whole record. “Intervals” will likely appeal to those that have followed Arndt’s journey and for those like me who are novices will find a definite appeal to the eight tracks contained herein.
[sic] Magazine, November 2020
The album begins with ‘Center’ which had a very cinematic vibe. This piece is almost in two halves with the opening passage strongly reminiscent of Jóhann Jóhannsson or even Michael Nyman both luminaries of the Soundtrack world. The track then shifts into more recognisible IDM territory before reprising itself. The track ‘Second’ manages to attain Philip Glass levels of repetition which is quite some feat. However the defining aspect of Intervals, its crowning glory if you please, is its arpeggios. On its first play through I couldn’t believe how beautiful the new album was. There’s a shimmering stillness to everything, if that’s not a contradiction. The whole album is the sound of natural ephemera made music. Picture a dewdrop on a spider’s web or a bubble, floating and reflecting its beauty in those seconds before it bursts. Little moments that we should all cherish. If John Lennon’s message (from ‘Beautiful Boy’) is poetic and meaningful, I think Lester Freamon (from The Wire) had it more accurately “A life, … you know what that is? It’s the shit that happens when you’re waiting for the things that never come.” Intervals flickers somewhere between both purviews. Now personally I have never really used ambient music as ‘background’ or as a tool to introspection. I prefer to listen to my favourite music. Near the Parenthesis is fast approaching just such status. His segues and the ‘through line‘ that he creates for his compositions continue to impress. 8 tracks at 42 minutes the album is refreshingly old school The only danger on Intervals is arpeggio fatigue. It really is that pretty.