It is readily apparent that Kieran Daly is an artist who’s spent countless hours honing his voice, whittling it down to its bare essentials—to paraphrase one of his favorite composers, Morton Feldman, the real work as an artist is to figure out what not to do. On his new record for Nina, released through his Madacy Jazz label, Monophonic Forms of Glissandi and Tempo Modulation (he often juxtaposes dry, overly-verbose descriptive titles fitting for academic papers with more light-hearted elements—say, a photo of his cat), he dives deeper into his highly personal soundworld: monophonic guitar lines with his signature clean, dark and nasal tone repeated ad nauseam with microvariations of intonation and timing, very reminiscent of the bouncing bass lines of EVOL but played by hand (even though his guitar frequently sounds like a synthesizer). This is not easy listening but it is some of the most singular music being made today.