Günter experienced a performance by Jeph Jarman in 1996 and was instantly impressed. Little wonder: Günter and Jarman are kindred souls in important ways, both concentrating their efforts on small sounds, experienced in themselves or in relation to other events in the performance. The choice of electronic (Günter) or acoustic (Jarman) methods is less relevant. After the performance, Günter asked Jarman to release something on the trente oiseaux label, and although Jarman agreed, when his tape arrived, the sound quality was too inferior for a release (an occupational hazard of quiet acoustic performances). Instead, Günter used the tape as source material for this collaborative release. The piece fits in well with the aesthetics of both artists, full of very quiet percussive clicks and pops, rattles that call to mind natural wind and water sounds, and even the occasional melody that could as easily come from a creaking hinge as a bamboo flute. Sound moments fade in, linger for a few minutes, then fade away, sometimes recurring later in the piece.