In the liner notes Nick Stephens describes this music beautifully: “…four voices in conversation agreeing, disagreeing, shouting, soothing, answering the question or not, but always listening”. During several of these parallel dialogues one gets the picture of a division between the ones who talk more calmly (Gjerstad’s ever-articulated emissions, Stephens’ patient excavations in the multiple opportunities offered by an acoustic bass) and those who instead mostly hit, run then stop thinking about their next move but decide to do the opposite (Poulsen’s phrasing mixes Frith, Rypdal and noise in equal doses). Moholo is just wonderfully selective, always in the thick of the action with controlled angularity, his playing showing no sign of repetitiveness whatsoever. The menage a trois between Gjerstad, an arcoed Stephens and Poulsen in “Dots and dashes” is highly charged and totally vicious, while “The breeze and us” whispers memories of Ovary Lodge. “Calling signals” is an album permeated by sheer sincerity and bursting with lucid visions by four artists whose aerials fear no interference or bad weather, totally contradicting the theory according to which records of improvised music should ideally be listened only once.