The first Pita album in 12 years, Get In, continues those strains but leans more to the side of patience. It's more about repetition than surprise, meditation than hyperactivity. Many tracks start slowly and quietly, and some hold entirely to that restraint. Elusive opener "Fvo" sounds as if Rehberg's volume knobs never made it far past zero, while the small drones and whispery glitches in "Aahn" evoke warfare echoing from miles away.
Even the louder, bolder pieces on Get In exude a unifying calm. Impressively, Rehberg maintains this serenity while creating just as much sonic diversity as he did over a decade ago. There are bubbling synths, whirring tones, static fields, church bell-like chimes and heavy oscillations that mimic ocean waves. "9U2016" covers that many elements by itself, and in the process threatens to collapse. Yet Rehberg's patience persists throughout the decaying shards of sound.
The most surprising piece on Get In is ostensibly its most normal. At over ten minutes, closer "Mfbk" is also the album's longest and most focused cut. Here, Rehberg crafts high-toned, glacially-paced drones, melting them into the first Pita track you could call purely ambient. On any previous Pita album, "Mfbk" might seem out of place, but for Get In it's a perfect coda: Rehberg's majestic calm boiled down to its essence.