On Disquiet, The Necks stretch their immersive, shape-shifting sound across three discs and more than three hours of labyrinthine, patient intensity. This twentieth studio recording marks the 39th year of the band's existence, representing both a culmination of their extraordinary journey and a bold leap into uncharted sonic territory. Meticulously recorded and sculpted, the four extended pieces on Disquiet see Tony Buck, Chris Abrahams, and Lloyd Swanton pushing at the outer edges of their collective intuition, building and unraveling hypnotic structures with microscopic focus. Present is their usual arsenal of piano, double bass, and drums, alongside all the in-between sounds undefined and sources obscured that have made them masters of textural improvisation.

The music of The Necks has always carried a profound sense of shared responsibility between the players in their utter commitment to the improvisational, and between the work and its audience. With music so open, there are profound opportunities to choose what to focus on, whether to focus at all. Disquiet takes this philosophy further - there is no particular listening order prescribed, no "Disc 1, Disc 2, Disc 3." The music itself stretches time, and this presentation challenges conventional ideas of sequencing. The Necks, one may argue, are a mode of discovery as much as they are a band. Their approach recalls the patient minimalism of Éliane Radigue and the architectural improvisations of AMM, while maintaining a uniquely Australian perspective on collective music-making that has influenced everyone from Barn Owl to Sunn O))).

The band's signature restraint and textural depth remain intact, with subtle tonal shifts, evolving motifs, and roiling phases of keen and propulsive clatter. Throughout Disquiet, listeners encounter strains of subdued surprise and unmatched intentionality that demonstrate why The Necks remain unparalleled in their field. Their music continues to be expansive and absorbing, offering rewards that deepen with each encounter.