Igloo Magazine, February 2026
Ten tranquilized compositions, delicately woven around neo-classical forms, extend the quiet resonance of Relative Minor, an emotive current that implodes from its first breath with “Pause,” then drifts into an airy ambient expanse. San Francisco-based Near The Parenthesis moniker lingers at fringes of abstract atmospheric modulation, where tone and tactile nuance merge with soothing piano motifs. “Angaharas” deepens its enigma through patient ebb and flow, guiding listeners across vast, suspended moments. Sustaining a path of quiet wonder, ambient synth swells release waves of nostalgia in “Verge,” while neighboring “Liminal” breathes with spare, weightless minimalism. Production throughout feels refined and intimate, each passage unfolding like a soft chapter revealed in hushed sequence. Closing movements led by ivory phrases in “Undertone” and “FourFour” carry striking emotional weight, as “Lough” slowly evolves beneath luminous synth veils that settle gently within awareness. A cascading and serene transformation, Relative Minor advances with subtle resolve, carrying both itself and its audience through pockets of tender bewilderment. Delicate innocence surrounds each piece, expanding and contracting without ever losing focus. Drifting through ten kaleidoscope lenses, Near the Parenthesis reflects relaxed ambient modes and moods for pensive moments looking back in time.
Betreutes Proggen (Germany), March 2026
Having just enjoyed Stray Theories ' "Falter" , Near the Parenthesis offers another example of quality work in instrumental electronic music. Near The Parenthesis has also been around for at least 15 years, and this music also works with flowing, dreamy sound collages, snapshots, fragile contours, images of retreat and loving melancholy. For many years the musician also released music on the quality label n5MD; currently, the new release appears to be a completely self-produced work. This quiet, introverted music – somewhere between ambient, electronica, and modern classical – is, just like the aforementioned Spray Theories, a gentle, cautious companion at all times, a soundtrack for maximum deceleration. Sparkling electronica, vibrating bass, shimmering, post-rock-inspired moments – without beats, loops, or overt rhythm. To call it mere background music, let alone ambient, would never do justice to the score-heavy soundscapes. Here, too, emotions, subtle dynamics, and beautiful, vulnerable tones are used to manipulate the listener's thoughts. Listening to tracks like 'ThreeFive' or 'Verge', the searching sound, the restlessness , and the pain are undeniable. And definitely on this album too – without descending into the extreme sadness of the Pieter Nooten release – the shadowy textures and projections are allowed to generate depth. This project has always completely captivated me, as the American musician has been performing at the highest level for years. The relative minor key thus proves to be a special key, which – in this case – offers lovers of instrumental beauty another gem. The brief three-quarters of an hour becomes pure contemplation: a gentle retreat inward, a daydreaming that touches emotions without seeking out intense pain. As with its many excellent predecessors, absolute quality is once again found in The Sound of Silence.