This piece of electroacoustic sound experimentation draws inspiration from and may be viewed as a homage to the clear, strong and definite aesthetic of sculptor and minimalist artist, Donald Judd. Not one to pander to the figurative, Judd shackled his art to the idea of a hidden structure, and accordingly concerned himself with the pure play of form, turning large spaces into his own personal playground. Much as Judd worked with humble materials such as industrial plywood and metals, so too Vitiello utilizes a limited palette of commonplace sound events which, for the period of some two years, occurred in and around Judd's sculptures and the city, Marfa, in which they resided. What animates the music is a palpable curiosity about space, time, memory and their respective potentialities for mutation. Over the course of the record, Vitiello displays an alchemist's skill in his mixing of warm ambience and fine gradients of organic sound. His subtle yet effective processing affords an otherwise taciturn album a definite textual shape and character.
Whatever the randomness of Vitiello's source material, he does impose a certain compositional control over them. Rather than working within usual categories of language, that is to say, rather than signifying what cannot be said by presenting clearly what can, Vitiello abstracts a specific space and its respective sound events from their functionality, and makes them, as it were, levitate in another realm, a realm of appearance, of games, in short, of play. Vitiello's sound work, much like Judd's sculptures, ultimately creates foreign spaces devoid of meaning; places which resemble their everyday counterparts, but which differ and seduce for their always already being somewhere else. 7/10 -- Max Schaefer (9 May, 2007)