You might be loosely familiar with Arias and Frasconi as collaborators, among others, of two artists that I admire in the same way even if they are light years distant, namely Hans Tammen and Jon Hassell; on the other hand, this is my first meeting with Uenishi, credited with laptop computer. This set was recorded in 2004 as a complementary exhibition in a series of concerts parallel to an installation at Long Island City’s Sculpture Center called “Treble”. In regard to the traditional aesthetic commandments of the label, this music is a little more minimal and less erratic, but just as lovely. The timbre of Frasconi’s rubbed, hit or slightly touched glass mixes nicely with the meager percussive components and synthetic episodes introduced by his Japanese comrade while Arias, from Bogotà, operates his trademark Balloon Kit (an instrument made of several balloons on a structure, played with bare hands or objects such as sponges and rubber bands), adding a further touch of “alternativeness” through rarefied soft bumps and unrecognizable noises, always perfectly efficient in the economy of the pieces. Not really equivalent to a “style”, this type of intercommunication privileges attentive listeners, repaying them with quite a lot of moments of fragile spaciousness and concentrated emotion.