It’s tough to decipher, but it appears that this is essentially a site specific piece in which field recordings and sounds made from surrounding objects in a certain area are combined and reconfigured to create this nearly hour-long excursion. If the title alone doesn’t suggest a bleak stance, then the sounds certainly will fortify any misgivings, opening in spare and occasional clatters while slowly building over its length, adding layers of white noise and fire crackle before moving into starkly contrasting areas of gestural sonic exploration and thick washes of fuzz and drone. In between can be heard bird chirps, oceans, and metal treated in lush grey scales marvelously configured to achieve a distinct portrait.

The piece, which certainly falls into the cracks between musique concrete, noise and ambient, has a distinct mood that is served well by the intimidating length of the work. This is one for full submersion, requiring no less than your full attention over its length. If provided that, the work speaks volumes, allowing its listener to hover in rich sound environments that never lose their movement or shape. If not, the work will quickly dissolve into the background, which is perhaps every bit as sinister a place for it to lie. As much air as anything else, it’s a work that calls upon its spaces to carve out its distinguishing features, and each one is as easily recognized as it is lost among the fog. 7/10 -- Henry Smith (2 September, 2009)