When making async, "I just wanted to hear sounds of things, everyday things, even the sounds of instruments, musical instruments as things," Sakamoto said. Sakamoto cited the works of sound art sculptor Harry Bertoia as a major influence when making the LP. The instrumentation includes both regular orchestral instruments and unusual acoustic and programmed textures, more specifically bizarre interpretations of otherwise familiar instruments and the "musical aspect" of everyday noise. async employs a variety of sound-producing techniques, such as field recordings, making mist textures out of chorales, and wailing sounds from glass. Some of the tracks include out-of-tune pianos he recorded two Steinway pianos he had in his home studio, and a piano that was drowned in tsunami water was used on the track "Zure." He thought it was "nature" that was responsible for the notes the broken pianos played: "the piano is a very systematically, industrially-designed thing, but they were a part of nature, taken from nature. Mankind artificially tuned and set the well-tempered scale, but the thing is if you leave the piano for a long time without a tuning, it will be out of tune. "Tri" is an unedited recording of triangles performed by three musicians: Ian Antonio, Levy Lorenzo, and Ross Karre. In a 2017 conversation with Sakamoto, Ruth Saxelby assumed the triangle sounds that were in the later part of the track were digitally programmed.
However, Sakamoto corrected Saxelby by saying "Tri" went through more than ten takes because the three musicians were "perfectionists" and thus wanted the triangles to sound machine-like.
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