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Wrongly considered ambient by tin-eared critics, the music of Scorn is far closer to the ominous, minimalist hiphop produced by the Wu-Tang Clan’s house DJ, the Rza. But Scorn’s main man Mick Harris, who realizes white men can’t rap, forgoes the Clan’s urban swagger, instead creating instrumental stalker music for a funked-up Michael Myers. A sonic pointillist, Harris constructs his music from tight pockets of sound that do not overlap, yet blur into a whole. Distance provides the illusion of continuous tone in a pointillist painting, but intense aural staring reveals Scorn’s repetitious music to be an evolving entity. Harris’ compositions are festering rather than blistering; they require you to shift your aesthetic focus away from song craft to appreciate Harris’ subtle, supple sounds. Like the Rza, Harris approaches the “song” as the caressing of sonics, producing simple riffs from piano, white noise, and squiggly synths, and forcing you to listen past intense, highly mixed drums to get to them. In fact, the slightly atonal piano in “Stairway” is immediately reminiscent of the Rza-produced single “The Riddler” by Clan member Method Man. But “Forever Turning” is the disc’s highlight: Once you realize that a nearly subsonic kick drum provides the piece’s metronomic pulse, the seemingly misprogrammed snare beats become warped, instrumental accents rather than timekeepers. And by placing the song in the middle of a disc whose preceding songs have perfectly centered drums, Harris shows that while you may be lulled into bliss, he’s still actively cultivating disconcertion.—