Bitchin Bajas makes patience an ally with this comfortable cloud of sound. I listened to it once. Then I listened to it again. Cooper Crane (the man behind this project) does an amazing thing with only a few sounds. You could call it drone, kosmic music, or baroque. All of those descriptions would be correct but would miss the enigmatic nature of the music.
This recording was created as a score to the remake of “Water Wrackets” a 1975 film. It starts off slowly, with a building drone. Cooper adds tiny details occurring right within the window of perception. “Water 2” starts off in roughly the same way but ends off with flourishes of baroque. A celebratory, quiet beat comes in and turns the entire thing into a cheerful, happy piece. Listen to “Water 2” with headphones as the panning becomes extremely enjoyable in this context (with regular speakers this effect would be somewhat lost).
“Water 4” is the largest track on here in terms of sound. I’m reminded of some of Leyland Kirby’s approach to synthesizers. The sound is blown up to an epic scale. Again, the approach feels almost classical. For those who wonder where the Kosmic Music/Krautrock approach takes place (think Emeralds), that is the “Water 3” which contains a galloping bongo beat. On a personal note, my intense dislike of the bongo ended with this track.
I think this album grows on you. After a few listens it really revels all the many secrets and influences. Give it a few listens. Listen to it before you go to bed. It is that kind of calming, meditative music.