Thomas Brett is a musician and writer who holds a PhD in ethnomusicology from New York University. He is the author of The Creative Electronic Music Producer, and his essays and book reviews have appeared in the journals Popular Music and Popular Music and Society, as well as edited collections by Routledge, Oxford, and Cambridge University presses. He has released numerous electronic music recordings and his compositions for marimba and vibraphone have been performed internationally by soloists and university ensembles. Thomas has played percussion on Broadway since 1997 and writes about music at brettworks.com.
brettworks 
It took me awhile to accept in my stubborn ear the “damaged” reverb, and I’m not sure I fully did, though by halfway in I was able to hear it meaning contrast to the otherwise simple and lovely cadence and melodic element.
Anyway, made me think. That’s a good thing. Thank you.
I think it’s a pulsating filter with noise attached. Yes the contrast is key, in this case it prevents a clean piano from ever happening. Glad effect had an effect!