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.
Recorded in Tokyo and Miura Peninsula, Kanagawa, Japan in 2013