Tom Heasley is gaining international recognition for his music, having previously used the Tuba for ambient recordings. His third album Desert Triptych is another ambient offering, this time using processed didjeridu and voice. It was recorded in a live session, with Robert Rich doing the mixing and mastering. Clearly Tom is comfortable using instruments one doesn't normally associate with ambient music that electronic ambient fans would enjoy. There is a small number of artists filling this niche, Christopher Orczy who uses a harmonium is another who comes to mind. With the word triptych in the title there are, as expected, three tracks. These are long form deep listening pieces, the shortest is nearly seventeen minutes and the longest a whopping twenty eight! What defines this album is the nuances and slowly evolving structure. Indeed, even the didjeridu which can have a big and bold sound doesn't have a pure and smooth timbre. It's the nuances which make the listening worthwhile on what can otherwise feel like a monochromatic and extended organic drone. The only other recent work I've heard with a distinctly organic sound is Igneous Flame's SATU. The first track "Joshua Tree" begins with primeval sounding organic drones from the didjeridu and is soon joined by more airy tones and Tim's processed voice. Many of these effects inhabit the soundscape like will-o-the-wisp spectres; I came to imagine walking through a desert wondering if glimpses of things in the distance were real or just mirages. The longest track "Solitude" is up next, this begins in a similar vein to the preceding track but has a more rarefied atmosphere, some of the voice effects sound almost female in places since they are so ethereal. Also, there are gossamer tones that you can't be sure if they are processed voice or electronics. In the final track "29 Palms" there are again elements we've heard previously, but arguably this piece is more eerie, especially when seemingly far off wraith like whistling is adding to the mix. Desert Triptych is a welcome addition to the list of ambient works making use of highly processed sounds to create haunting aural experiences. I'd say that committed listening is needed to get through all three tracks in one sitting though.