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As an extension of this artist’s already solid commitment to deep sound, Roots in Heaven represents a new voyage without the help of biographical cues to his listeners: hidden behind an evocative mesh mask lined with obsidian feathers, Roots in Heaven ignores the need to provide “social proof” or self-justification. He communicates purely through the language of concentrated sensory impression, for which reason he has titled his debut, “Petites Madeleines,” after one of the most memorable descriptive sequences in literary history (the famous meditation on the madeleine from Proust’s À la recherche du temps perdu). Built on a chassis of pure analog electronics, unaided by computers, “Petites Madeleines” presents a single sprawling track whose immersive, meditative quality initiates participants into a realm of reversed energy currents. Using a sonic technique which, for example, drapes the listener in darkness until it becomes light (and vice versa), this piece provides a pervasive feeling of other realities opening up that complement the already familiar. The looped pulses and frequency sweeps hover and expand with all the assuredness of, say, early-’70s Cluster, but without anything consciously “retro” or overtly referential in their presentation. Though the project is as opposed to the current trend of distortion overload as it is opposed to cults of personality, “Petites Madeleines” occasionally bristles with an abrasiveness that separates it from more patronizing experiments in raising