This beautiful, nearly 20-minute standalone track was released a couple months back by Kent Sparling. Characteristic for Sparling, it is a seemingly inorganic music — richly and evidently synthesized, but synthesized nonetheless, artificial as it were — that plays out like something intensely organic, with the ebb and flow, the understated elegance and the quiet chaos, of something very much alive. The track, titled “Dark Triad,” is also, again true for so much of Sparling’s ambient music over the years, a kind of score for an unseen film — not just score, but the backing noise as well. It is like a sonic imagining of a midday forest, combining the score that celebrates that space alongside a sound design of that space itself. That is a whole other form of artificiality, the artificiality of narrative, of everyday sound and the drama we project onto it.