The album is comprise of an improvised (?) piece performed at the exhibit's opening by the trio alongside the vocals of Freddie Wadling, and an edited collection of EVP's. The latter is a fairly standard, if unsettling composition of Esposito's with the help of Per Svensson and Leif Elggren, but it is the former which impresses the most.The first section opens with a murky and disturbingly compressed dynamic range similar to the previously released Inner Voices EP: now with the addition of poor stereo separation and a chorus of coughs, cries and shuffling feet and jackets. I was midway through deciding whether the recording was merely done as an obvious afterthought, or if it was recorded to such low fidelity on purpose (and more importantly, how said quality impacted the presentation of the music itself - bringing simultaneously a distance from the action and a veneer of authenticity in its intent of capturing sounds otherwise unheard), when a soft pop suddenly switched the recording field completely. Here was the quality of a true archival recording.Now unsure of which to prefer, the listener is (fortunately?) tossed around to other intermediate and indeterminate positions not infrequently for the remainder of the piece. In all cases the result is subjected to the murmurs and shifts of the audience, adding a tangible and entirely appropriate restlessness to the recording. Wadling's spoken words are decidedly undecipherable, as though aping Elggren's and Esposito's audio culls of EVPs. This is very much indicative of the performance as a whole - a purposeful invocation of, and homage to, the incidental sounds and voices of electronic voice phenomena, which by its very performance questions the source and intent of just those found sounds.Recommended listening.