What is there left to say about Jim O'Rourke that hasn't already been said? The American composer, producer, and multi-instrumentalist has been a defining figure in experimental music since the late 1980s, his fingerprints visible across so many crucial releases and movements that any attempt at a comprehensive summary would inevitably fall short. From his early work in the Chicago improvised music scene to his production of landmark albums by Wilco and Joanna Newsom, from his membership in Sonic Youth to his ongoing collaborations with Keiji Haino and countless others, O'Rourke has demonstrated a restless creativity and a refusal to be confined by genre or expectation.

Now based in Japan, where he has lived for many years, O'Rourke continues to produce work that surprises and challenges even those who think they know what to expect from him. His contribution to the MMXX series finds him in characteristically uncompromising form, a piece that offers no easy points of entry but rewards patience with revelations of structure and detail that only become apparent over time. O'Rourke has always possessed an extraordinary ear, an ability to hear possibilities in sounds that others might overlook, and that gift is fully evident here. The piece exists somewhere in the territory between his more explicitly experimental work and the considered beauty of albums like Eureka and Insignificance, a reminder that in O'Rourke's hands, these categories have always been more fluid than they might appear.