Ib Skovgaard:
"... It didn’t take long for Kjærgaard to foster the idea of making music and poetry together with Ulrich. When Kjærgaard had lined up a recording session in New York with bassist Ben Street and drummer Andrew Cyrille, he went to Seattle after rehearsals with the trio and recorded with Ulrich. Their work with sound, silence and space seems related to the music Kjærgaard recorded with this trio on the album Optics (2008). But the process was different: At the session in Seattle, all of the music was improvised, not just on the grand piano, but also on other instruments available in the studio, including the rarely heard Mellotron. For Ulrich it also represents a sonic atmosphere that differs from his work on the albums with Clinch and Instead Of. ..."

Lars Movin:
"Suddenly, Sound takes off from the five classical elements, but now in a thematic context, where they wrestle with the five sonic elements: sound, line, etc. Not as two alternative or parallel sets of elements, but as two dimensions that will meet in a Now, where the texts, having been just static words on a piece of paper, become living and performative, in interplay with the music.

"Differently than before, this time the ten root-lines can be read sequentially, as a continuing narrative – divided into two sections, recollections of a couple of imaginary Gurdjieff courses (or discourses) – and in the 21 off-lines, words and sequences are transformed from these tongue-in-cheek mini-narratives into new variations on the themes in circulation. In the process, the weight is shifted from the classical physical elements to the sonic – showing, in fact, how contemplation of the body’s/human being’s situatedness in the world necessarily will bring a change of mode when set into speech, set into tone, performed. And at the same time the words comment, so to speak, upon their own musical sonicality, as the written lines eventually become spoken/sung lines. Songlines. ..."