Referring to Raglani's patient instrumentals as "ambient" demeans the complexity of his compositions in the same way that calling them "noise" downplays their overarching beauty. Dense, stacked layers of synthesized sound result in a vast sonic landscape that owes much more to Krautrock and minimalist composer Terry Riley than to Eno's airport soundtracks or the raucous pounding of Wolf Eyes. Raglani uses many of the same devices of his noisemaking contemporaries — analog synths, wave generators, recordings of found sounds — but few can extract such warm swirling tides from the same cold metal boxes. The gorgeous textures Raglani creates are further proof that, with any good experiment, the result is more important than the process by which it was created.