Martin Archer, a mainstay of Sheffield's experimental scene, has released electroacoustic improvisations on his own Discus label since the mid 1990s. Here he takes up his violin, processing the results at source with computer software. Perez sis at a laptop, treating field recordings of natural sounds. "Playing a violin and manipulating a mouse at the same time is an interesting physical process" reads Archer's press release, and though listeners searching for examples of conventional virtuosity will do so in vain, the sense of considered, focused interplay between the participanys is undeniable. An hour or so of abstract noise passes imperceptibly, then, suddenly, everything feels shockingly different - Stuart Lee, Sunday Times

A CD of intricate moments, steering away quite nicely from many of the clichés associated with the vague beast that is the improv genre. Both (players) do indeed seem to be on an extended nature trip, albeit a microscopic one.....It's an album of abstract micro-events, none of which help pin the improvisation down, and it feels at times that we're moving along with the musicians on a cellular level of sound.....What I hear is the deep thinking of stones and the beating hearts of young trees, the dying wishes of leaves falling to the ground and the absurdist symphony of a gently running stream.....Guaranteed to make even the most hardened sceptics want to smell new spring flowers and run naked through the fields. - Aaron Robertson, Sound Projector

Découpé en quatre parties, l’enregistrement prône à chaque fois une abstraction de principe, assurant l’auditeur que si ce qu’il s’y joue réellement peut sembler mystérieux, il ne peut en ignorer longtemps la dimension : faite de souffles, grincements et frottements, larsens insistants (jusqu’à trop en faire sur Part 4), elle s’insinue lentement, et tire une profondeur inédite des field recordings récoltés par Perez. Hululements étranges et miaulements infimes, ruissellement d’une eau désormais perdue en méandres artificiels, ou percussions de bois, divertissent les constructions menaçantes. Balançant les effets de reverses agressifs ici, de réverbérations inquiétantes ailleurs. Jusqu’à trouver une stabilité inespérée à cette combinaison d’éléments épars et d’origines contraires. - Grisli, D Mute.