Available for downloading at the Homophoni website, this splendidly titled composition is a synthetic yet deeply involving representation of the many reasons for my growing interest in Asher’s production. Reportedly conceived through “samplers and effects”, the track – about 33 minutes, a perfect length – starts with a series of virtual in-and-out camera zooms that go from a distant perspective (silence) to close-ups of scarcely distinguishable activity. The moments in which the sonic mass gets louder are characterized by a background disturbance appearing as a cross of modulated white noise and shortwaves. The whole evokes the sensation of being massaged by interacting physical energies. The real beauty of this composition comes forth after a while, as the ongoing forward-and-backward shift keeps growing in intensity until we begin to hear the grain of the matter while the music keeps flowing. The most detectable derivations consist of human voices and, soon becoming a constant presence, leaking water drops. This creates the “biotic quality” I’ve grown accustomed to by listening to most of Asher’s recordings: that sense of organic life, even in apparently next-to-dead structures, which moves his creations through a chain of distinct phases. Time is framed in a way that forces the listener to freeze and be completely subjugated by something that remains undisclosed, but is felt as a depurating radiance.