Sometimes, the absence of words are much louder. “Drifting Intervals” is exactly what it prescribes – half an hour divided into eleven parts of what seems to be… calmness. Is it synth? Effects on a keyboard? De Moi refers to it as an ambience, musical intervals arranged and layered to create a serene atmosphere.
When people hear the word ‘atmosphere’, one would immediately picture nature as is; the natural gust of the wind, pattering of rain or human footsteps. This album utilizes instruments, techniques to recreate what an ambience is traditionally known as. It is something that reminds someone of the great outdoors at first listen, and would soon contemplate or even compare both sounds.
Listeners may choose to listen to each track (Drifting Intervals I to XI respectively) or the merged version of thirty-five minutes. With any other instrumental record, the listener is left on their own to interpret, feel, and determine what the audio means to them. What did I feel when I sat and listened to the first part? Intrigue, ‘this feels like I’m floating in air’, a visual of a clear blue sky littered with clouds from a window of an airplane. You may share the same sentiment, but the beauty of it all lies with the variety of answers.
Part two, as how all of them begin, is a continuation of the previous one. However, this one feels different. Again, one is left to their own thoughts without the artist providing them meaning and words. ‘This feels louder’ was the first one to pop into mind. Subtle pitches start to arise, and there’s definitely more volume to it than the last. Contrary to what was just stated, the third part feels similar to the first one rather than the second, and is somewhat silenced if compared to the former.
In the midst of listening, you would really start to question how much the tone and sound has changed over the course of four tracks (or minutes); the fourth one is drastically different from how the entire thing started. It then slowly fades out in the near end, giving listeners a taste of skillful dynamics present in every waking moment of this album. Following this is the fifth and sixth part, having a certain muffle to it and the subtle change in volume respectively.
This is the kind of work where one would utilize it for rest or challenge. There was no doubt that this would be perfect for studying or sleep, but it would also be a great way to teach people (e.g. music majors) the concepts present in the field: dynamics, tone, pitch, and the like. Because De Moi was smart to have the choice of listening to this album track by track, not to mention split it up to a way that would make sense. By part seven, pitches are arising again; it’s gentle, but noticeable for someone who has been paying attention, even for those who are idly listening.
Part eight heightens the previous part’s elements, and part nine has certain changes in dynamics and pulse-like sounds. Everything almost (but not completely) blends in, but you just know it’s there, especially when you have sharp ears. By part ten and eleven, the same ambience continues, but the latter track starts to thin out and fade, and before you know it, the sound completely dissipates, leaving your senses empty.
Having gone through the entire thing, the subtleness of it all is impressive, making you wonder of the artist’s thought and creative process to make something like this. According to him, William Basinski and Terry Riley are influencers among others. This one’s a great listen for if you want or need a break, as the calmness will get to you quite quickly with how smooth it is.
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About the Author
Kate Clarice Lee is a psychology major in Ateneo de Naga University with a knack for music and writing. She takes interest in playing guitar, poetry, creative writing, and lyrics that—subjectively—hit close to home. Kate mostly enjoys indie, alternative, pop & punk rock music.
