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It appears - as far as social media is concerned - that Bing & Ruth have quite a small, but extremely devoted fan base. This could be due, in part, to the niche genre they occupy - as well as its accessibility to the common listener. Classical music does not carry the cultural weight that it once did, with trends in popular music shifting towards information that entertains quickly. As time's gone on, there seems to be more of a place for the traveling boy band, or common four-piece indie rock ensemble that can gig their way across three continents without breaking a sweat. However, there's more to be said about those who can build a world inside of their practice, regardless of whether or not it will garner any kind of attention.

Bing & Ruth is the ever-changing classical/ambient ensemble lead by Kansas born pianist David Moore. Based out of New York, with most of the members meeting at the New School, the band has played together for over 10 years in various incarnations. The name pays homage to one of Moore's most beloved writers, Amy Hempel, whose literary style spurred on the inspiration to create music in the form of longer and slower textured pieces. In Moore's book entitled Music of Bing & Ruth, he adds the fictional work of Gordon Lish to his list of inspirations - an indication that these so called 'minimalist fiction' writers all play a role in influencing how Moore deals with space and expression in a musical sense. There's a certain level of ambiguity that comes with this, but as with most classical music the idea is never to tell listeners how to think and feel. These senses are experienced independently and subjectively - and in regards to Moore's compositions, the message is intended to be intimate but impossible to pin down. Sonically, his pieces have been compared with the works of other composers such as Morgon Feldman and Gavin Bryars.

Bing & Ruth's third full length LP, Tomorrow Was The Golden Age, is an album length composition split into 9 different movements. As compared with their 2010 release City Lake, the ensemble has seen a decline from 11 to 7 members. But this does not alter Moore's central concept of 'single sound'; in fact, it does more to emphasise it. His idea is that an instrument should be heard only in its absence, with the mass of individual acoustic sounds being utilised to form an ever-changing sonic landscape.

TWTGA does exactly that. Armed with two upright bassists, two clarinetists, a cellist, one tape delay operator, and Moore on piano, the overriding sound of the album is split into 3, or perhaps 4 components - a searing bass tone, Moore's rolling piano, the flicker of the tape delay, and higher notes of the clarinet. There are no vocals, and next to no percussion. As the first minutes of 'Warble' unfold, you are swept away on a reflective, higher plain. The mood is quite soft, but grand in scale, as each instrument speaks in drones to drive the intensity of the piece towards a certain point. At the basis of each movement is the sound of Moore's piano - rolling, but assertive and emotive.

It's impossible to review this album in a traditional manner. The listening experience is more or less based entirely on feeling, with little being connected to predispositions or predictions about how it might sound. We are left with only an album title, and 9 song titles - all of which are quite ambiguous to say the least. Moore stated in an interview with BOMB Magazine that the titles were created merely out of necessity. The band needed to know what they were playing - and so, over time, these elusive, yet intriguing song titles stuck. The album's name could even be positive or negative, depending on how you view it, keeping Moore's trend of subjective interpretation in check.

TWTGA takes us on a never-ending journey to a place where the sonic wall drifts imperceptibly from silence to grand, glowing sound, and leaves nothing behind. Everything feels possible, and each possibility is embraced. We are left at its end feeling reflective, yet somewhat lost as to how these feelings we just experienced could ever be rediscovered. It's something that only the power of music can create, and Bing & Ruth do it with style, elegance and tact.

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