For this collective release, Martijn Comes and Giulio Aldinucci neither worked in the same studio together, nor did they share and exchange materials. The two pieces on this LP were composed privately and without any sonic input of the other. And yet, it is far more than just a 'split'. 

Both pieces were loosely based on a pair of opposites first proposed by Nietzsche: The moral codex of society, as represented by the Christian church. And the realisation that only by surrendering completely to emotion can we live life to the fullest. 

Using a single field recording of a procession in rural Tuscany, Aldinucci investigated how sacred rites are capable of defining new soundscapes. Blazing a trail through three distinct sections, Comes's Crystalline Tragedies, meanwhile, takes strong feelings evoked by certain life passages into a poetic dimension. 

Never particularly strict or academic about their inspiration, the same conceptual source lends a strong sense of unity to the music – making it.