The quartet chooses to play acoustic music. Sparse compositions, fragile improvisations and silence. Not playing is not a lack of sound, but a space _lled with tension and possibilities. Yet there is a forward movement in the music. That is how the music came about: at times you hear Joachim Badenhorst and Toma Gouband migrating through the room and by walking they create acoustic dynamics. Both the composed and the improvised pieces appear to be particularly comprehensible for the listener. Partly because of the lyrical qualities of Machtelinckx as a composer, partly because of the porous voice of Badenhorst that keeps on popping up.