Granström’s first full-length release firmly establishes him in a field of progressive artists known for generating beguiling new music from a rigorous mixture of algorithmic synthesis, 20th Century minimalism and medieval composition techniques. On ’A distant color, secluded’ he yields a technically complex yet emotively direct demonstration of his compositional style during four works ranging from a pulsating prologue vignette to a side-long epic, each built from the ground up with Supercollider software which provides him with an extremely fine level of control over the timbre of his sounds, cyclically layered into vast topological complexities and worlds within worlds that gradually emerge from reiteration and slight real-time shifts.

Working within isometric and just intonation systems that connect ancient Indian classical traditions to medieval composition and late 20th century expressions of modernity by Cage and Catherine Christer Hennix, Granström’s music strives to collapse distinctions of time and place with absorbing harmonic transitions that highlight an uncanny valley between the sonic laws of the “real”, or manifested world, and his resoundingly immersive spaces of minimalist, pure non-dimensionality.

Between the concise flutter of illusive harmonic flux in ‘The Other Side’, the brazenly coruscating cadence of ‘Approaching The Infinity’, and what sounds like Autechre remixing Earth on the A-side’s ‘Plane At Infinity’, and the swelling gulf of ostensibly still (yet unfathomably deep) waves that crash over the B-side’s ‘Waning Moon’, Granström lucidly questions the listener’s spatio-textural sense of tone and timbre in a way that results in rich instinctive responses and encourages users to listen deeply to, and inhabit, the dissolution of perceptive boundaries.