Active participant in the New York musical life as a composer, singer, and presenter, Lisa Bielawa takes inspiration from a treasure trove of literary works, including Kafka's meditations and Aeschylus's The Suppliant Maidens. These respective texts serve as kindling from which Bielawa, with the assistance of vocalist and violinist Carla Kihlstedt, draws something rich with incident and atmosphere.

All of this despite the fact that Bielawa fights shy of broad brushstrokes. Tracks like "This Time" are primarily concerned with a considered framing of sounds. Haunting singing tones are enhanced by whistling effects, and, against a backdrop consisting of a mass of slowly, shifting resonant strings take camouflage in a bed of high-pitched multiple tones. Often, the sound thickens, as Bielawa adds overtone-laden vocals that weave in and out of the mix, and allows the earthly groans and soft whines of strings to slowly seethe into screams of a controlled yet nonetheless unsettling sort. In the way these tiny gestures, and restless, miniscule details manage to assert themselves, even in moments fraught with denser, more worrying tones, the musicians on hand demonstrate a thoughtful command and authority over the passages.

That besides, on numerous works such as "Lamentations For A City" a clearly articulated sense of emotion and immediacy manifests itself. Particularly as "Lamentations For A City" begins to crest, the ability to maintain melodic subtleties while effectively capturing a sense of destruction and desolation is rendered most impressive. Compositions are thus of academic and emotional leanings. As a result, they appear as desirable yet tantalizingly out of reach. This light remains undimmed throughout much of the record; it's this that affords it a strong consistency of purpose.