Subtle sonic interaction from Friedl on prepared piano and piano harp, and Vorfeld on percussion and string instruments. A lot of bowing is heard here, with many interesting harmonic interactions. The sounds are high-pitched for the most part, but not piercing. Just lovely ringing tones swelling and growing and receding, with occasional resonances from drums. Timbre seems more important than pitch or rhythm, and there is much to pay attention to even with this stripped down aesthetic. It may have become a clich� to say that recordings of acoustic instruments sound electronic, but it's very true here. The title piece builds from simple, sparse beginnings to a mass of ringing, stinging overtones, each new voice a surprise, sounding like more than two people.

"Keks" sounds slightly more traditional, with brushed metals and what sounds like lower-pitched growling buried in reverb. Overtones rise and fall and there's a bit of slapping and buzzing, a metal foundry slowed down. "Torf" brings back the bowing, with really spooky quieter sounds sometimes obscured by what sounds like feedback (it isn't), wavering overtones and odd birdsongs. Each time I listen to this disc i find new things.