Omega concludes David Jackman's trilogy - a final renewal and refinement of his holistic approach to sound, in which sympathetic vibrations point towards the ineffable. In these piano notes, thickened with distortion as they swing convincingly over a droning string pulse, defining the form and atmosphere of the spatial environment, one imagines the energies of centuries of murmured supplications and hymns being channeled back into the air.

The work consists of three lengthy pieces that move seamlessly through several stages of development. "Omega", the first selection, is predominated by the muffled shudder of tape lop hiss which accumulates like silt, obscuring the distant piano and filtered source sounds. Slivers of time, however brief, are wedged in between the piano notes, working as blank spots on which sonorous sheet-metal percussion evolves and eventually reveals itself in some clarity. As the piano chimes back, it gets lost again and is reassembled with the other elements, and thus a pleasing rhythm between emergence and secrecy sets in.

With "Omega II" the game changes in that these slivers of time bulge into oceans teeming with dark tonal drifts, while on the final piece a careful balance and sense of harmony is established. A work with a remarkable cumulative impact, Omega is a fine capstone in Jackman's trilogy.