It's interesting that the first track of a CD sets up expectation for how the rest of the disc will sound. In the case of Music of a Sinking Occasion the first track is, fortunately, a bit deceptive. Rather than the deeply felt, organic (and generally slow) folk-type stuff that makes up the rest of the album, this title track is agitated and frenetic, with a blistering breakbeat hot on the heels of fiery trumpet licks. It oddly reminds me of a track from Miles Davis' posthumous album, Doo-Bop. Unfortunately, it's also somewhat out of place on Music of a Sinking Occasion, as it sacrifices emotional depth in favor of motion for motion's sake. I kind of wish L'Altra hadn't put it first in line. Perhaps with a little padding around it, it wouldn't seem as starkly aberrant.

Once you get past the title track, however, Music of a Sinking Occasion is really and truly jaw-droppingly beautiful. "Slow as Cake", besides having a brilliant title, reminds me more than a little of one of my favorite bands, Ida. It has a lugubrious tempo and almost static harmonic rhythm (it seems like there's structural harmonic movement only every minute or so), plus understated, feminine vocals that ambiguously hint at something between lamentation and boredom. "Lips Move On Top of Quiet" is mesmerizing. With a simple chord progression repeated ad nauseam on electric piano and the words of the title chanted over and over, it sort of gently pounds you into a delirious stupor. It's quite impossible to resist. "Handwashing for Good Health" reminds me of Simon and Garfunkel, particularly in its harmonies. If you like "Scarborough Fair", this won't be much of a stretch for you with its haunting acoustic guitar, tight vocals and folksy quality.

By far the best song on this album, though, is "Movement". It starts with an electric piano introduction that politely defers to a single held cello tone and stark voice stating, "Movement makes me…" Before the sentence is finished a beautiful chorus of voices, acoustic guitars and strings takes over, carrying the song forward, only to be interrupted by the cello tone and voice. The ensuing antiphony is hypnotic and deeply powerful as lush, full textures are juxtaposed with the more simple cello and voice. There's a gorgeous point where the call and response finally peters out and an aching chorus winds the song down with lyrics like "You will be forgetful, you will be calm…"

It's not everyday that stuff of this quality comes out. I implore you to at least give it a listen. Then if you're the type who listens to Napalm Death and only Napalm Death, I might forgive you for not rushing out and buying it, but the rest of you have no excuse!