For this set, Susann Wehrli handles flutes and melodica, while Karin Ernst injects digital processing and live electronics. The thirteen tracks here broadly lean towards clean lines and a jabbing style that allows ample space for reflection, but also includes inserts of closer, more urgent playing. From the beginning form is open and sectionalized, with a clear direction that is carried through to the end.

Wehrli alternates brief melody lines with ascending arpeggios on the opener, shaping a succession of minor conflicts and resolutions. The next couple of tracks are both longer, more intricate, but also more generous in their pacing and establishment of repeated patterns alongside somewhat more exploratory passages. On track three, Ernst plays gruff percussive syncopation and aerial atmospherics, which Wehrli offsets with hairline runs, all of which speed up near the end for a slick, facile finale.

In places Wehrli can be seen in fairly conventional territory, stressing a piquant clash of melody and harmony, before passing beyond this horizon into more experimental zones, where she gropes around for variations in emphasis and tone. While she thus plays it fairly safe and straightforward, the two share in a common language, which enables them to switch roles often but without interruption. Wehrli's flute often leads, bobbing in corkscrew patterns, but then she'll deter to Ernst, who'll follow with vibrating tinnitus force fields or percussive blips and thuds. Without fail, there movements towards and away from each other are reassuringly coherent, if not especially inventive.