Review by Damjan Rakonjac

In the end, Crane’s detached attitude towards naming is also directed towards his own music. I did not invoke the notion of distance lightly: by flaunting the arbitrariness of his titles, Crane is distancing himself from his own works, and doing so by using a veil of words behind which he can comfortably lay aside traditional notions of musical expressivity. Yet these notions will not be so easily laid aside, and herein lies one of the most productive tensions inherent in Crane’s work.