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A stunning construction and a fantastic recording, seemingly endless layers of depth and ways to listen. A composition using field recordings by Toshiya Tsunoda and Manfred Werder, recorded in Japan in 2013. A bit past the 40-minute mark, there's a clear fade-out of the activity above and a shift into a different zone--perhaps it's simply going from the Miura Peninsula into Tokyo (the detour?). A strong, somewhat harsh electrical buzz is the main element, sounding like an exposed wire-box on a utility pole. There are still birds, but the ambiance is much more urban, the background hum of traffic seems to be present. It's more disquieting, something that, as much as I enjoyed wallowing in the fantasia of the opening section, I also appreciate greatly as, among other things, a kind of tonic, an appraisal of another reality just as (more?) real and holding a different type of fascination. Superficially, this section is a more gray and monotonous (the buzz doesn't quit), but listening below the veneer agains provides an abundance of activity, like looking below the surface of a pond. There's a gradual increase in intensity right at the end at which point, unlike the previous section's fade, the sounds abruptly and startlingly cease, just snap shut.