Studies of the progress of science note that the tools of the trade can influence it as much as top-down, theoretical matters. The story of the development electro-acoustic improvisation will surely involve a similar narrative. Affordable recording tools that allow exceptional detail and quiet live sound reproduction influence what music it is possible to make. We live in a golden age where exquisite sonic detail is widely possible.

Thread could serve as the poster album for this bottom-up influence. The dynamic range is stunning. At times the details are pin-drop quiet — subtle plinks, buzzes, and what sounds like rustling clothes. To the trio's credit, the origins of the sounds are often unclear, despite the inclusion of traditional instrumentation like piano and cello. This is a music of nearly pure sound and timing.

Timing is essential to these pieces precisely because it makes the detail possible. On the first track, "Sands," the approach is somewhat familiar. The default mode is silence, and the players take turns (figuratively speaking) breaking it. Layers and a few swells of collective activity add a few thicker daubs and more complex washes to the piece, but the return to near silence seems key to the approach.

However, working within this "wait for it..." method, Krebs and company deftly avoid a pitfall that plagues other groupings: a constant sense of hesitancy. On "Thread," there is a refreshing confidence in the approach. The players clearly know the territory and their tools. As a result, the silences speak along with, rather than repress the musicians.

Regarding adroit control of implements, Krebs holds aloft the most spinning plates on this disk: prepared guitar, objects, tapes, and mixer. For someone using so many electronic doohickeys Krebs is surprisingly well meshed with the acoustic musicians. I particularly enjoy her ability to integrate the use of pre-recorded tapes. It is difficult to use recorded speech and keep the focus on pure sound. Krebs largely manages this task by splicing in snippets and minimizing the use of understandable spoken segments.

Magda Mayas' piano work was also notable. Almost everything here takes place "inside" the piano, on and around the strings themselves. Mayas' attention to detail is key in a musical context where non-standard piano attacks are expected. Especially compelling was her almost guitar-like use of overtones, as well as her rhythmic experiments using objects on the strings and other piano surfaces.

I only wish there were more wound on this spool of Thread, as it were, despite the close listening it demands. At around 36 minutes, the CD is relatively short (but priced accordingly). Encore, please.