“Intrinsic motion” is a record whose beauty is revealed in the very moment in which we become able to penetrate its many subtle layers. Only a repeated attentive listening in a quiet environment can let us decipher its contents in their essential significance. Richard Garet created these four pieces through “combinations of various sound sources such as field recordings, found sound appropriations, contact microphone play, feedback and studio processing”. “For Shimpei Takeda” is a fulgid example of Garet’s poetic: imperceptible frequency modulations intertwine in religious silence, then it rapidly cuts to birds singing in a garden and distant road sounds that, once treated, become similar to a nocturnal backwash, the piece ending with a hypnotic feedback blemished by a more evident, if scarcely decipherable rustling noise. “Ascending” fuses overacute waves, some of them pretty near the ultrasonic range, to additional field recordings (water and barking dogs can be heard) then it gradually starts to alter – probably reinforce – our sense of equilibrium through a progressively denser, thicker amassment of splendid drones bringing the piece to its completion. While the initial “Endless scenery” is a sort of muted meditation about the uselessness of words in trying to define what a “sound” is, and a preparation for our brain to be delivered from preconceptions, the 25’46″ of “Field of monochrome” combine the album’s basic ingredients in a wonderful succession of solitary experiences and faraway echoes of a surrounding life which still has some significance in terms of aural colours, but not anymore as far as intellectual motivations are concerned. Throughout this track – and the whole record – time seems to freeze in a delicate sequence of compelling, profound memory snapshots.