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Bing & Ruth’s music exists in the cracks between. Project leader David Moore has a degree in music and his earlier compositions, found on the 2010 album City Lake, can have the air of the conservatory. So it makes some sense to slot his work in with contemporary classical. But the era of classical music Moore most frequently evokes—the trance-inducing minimalism of the 1960s and ’70s—has at times been filed as new age. And divisions between *that *genre and the more critically acceptable sphere of “ambient,” a word that sometimes describes Bing & Ruth, have always been porous. Beyond these labels, Bing & Ruth is also hard to pin functionally. Moore’s pieces can feel formal, less like “environments” and more like compositions that need to be tracked carefully over their duration to be understood. Though he’s made music for an ensemble that includes woodwinds and strings, Moore also includes processed tapes and production choices that smudge the lines between acoustic and electronic music.

On City Lake and 2014’s Tomorrow Was the Golden Age, Moore’s music evoked the best of what had come before him—Philip Glass’ repetition, the emotional shading of Max Richter, Eluvium’s comfort with rock dynamics—but he’s steadily grown into a sound that feels all his own. No Home of the Mind, his third proper album and first for 4AD, is his most distinctive record yet. His working group is still here, but the arrangements on *No Home *feature Moore’s piano much more prominently, and it’s a more focused record. If City Lake and Tomorrow sometimes found him moving between established styles, demonstrating wide-ranging mastery because he can, the new album stays focused on wringing as much feeling as possible out of narrower terrain. And No Home of the Mind is the earthiest Bing & Ruth record yet. You can smell the sweat that went into it. – Pitchfork