Suso Saiz’s new album, Distorted Clamor, his 8th for Music For Memory, continues the themes, and processes of his last long-player, Resonant Bodies. The set is another examination of sound at the cellular, molecular  level. Here, the Spanish composer is concerned with the noise that every living creature makes, as it struggles to survive. Zooming inside their shouts and screams, their cries, their combined cacophony, like a musical microscope to look for beauty within the titular distortion and clamour.

The album amounts to an epic ambient work, intricately woven together from myriad layers, of delicate drones and harmonious hums. Steel strings and bells raising ringing ripples of resonance. Field recordings also seem to have been folded in. Like rustling leaves. Footsteps in the fall. Saiz’s sound design like , sculptures, tapestries.

The opening track runs to 22 minutes. Beginning as densely detailed vapour it rises to a roar, and travels in wave after wave, through light and shadow. You can convince yourself that you can hear the ghosts of guitars and brass fanfares in there, but the best description I can think of is the sound of a pin dropping, exploded and infinitely echoed. The experience serves to re-sensitise / re-calibrate your ears, allowing the subsequent glacial paced glides to surround and submerge you. A soft cushion of slow stretched melodic minor-keyed murmurs and grainy, glitched symphonies. The sonic equivalent of a soak in a hot spring, complete with the odd volcanic eruption, geyser gush. The more twisted, contorted things get, the somehow more emotive.

Distorted Clamor is without a doubt a deep listen, and definitely not for folks with a short attention span. You really need to have time to spare, to let it play, fill, illuminate the room. Despite the music’s focus on the manipulation of minutiae, it magically creates an immense sense of space.

Suso Saiz’s Distorted Clamor is out now on Music From Memory.