Brian Reitzell comes with quite the resume. A composer of some merit, Reitzell has served as the music supervisor to television shows such as “Hannibal” and “Friday Night Lights,” and films such as “Lost in Translation,” wherein he compelled Kevin Shields to return to music. The point is simple here: Brian Reitzell knows what he’s doing and he does it well. With “Auto Music,” Reitzell makes music that could serve as a score to any of his aforementioned work, that meets the paradigm set by Brian Eno that the music is as “ignorable as it is interesting.” It’s an interesting skill set and one born of restraint — to create a balance between the ephemeral and the visceral — and one that Reitzell expertly weaves in and out of. There are equal parts ambient splendor and feedback-drenched glory here, which makes for a complexly beautiful affair.
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