Recorded live at Tokyo’s Offsite venue in January 2002, cellist-guitarist Mark Wastell, along with no input mixer-player Toshimaru Nakamura , prepared acoustic guitarist Taku Sugimoto and Tetuzi, Akiyama on turntable with air duster performed a collection of minimalist micro-improv compositions which portray a “new reductionist procedure” that requires hyperattentive listening to the barely audible, sparse elements in the sound-conscious activity. The prominent use of less loud material and silence draws an informed analogy to the music and dynamic range of the digital era, as influenced by awareness to pre and post-electronica, live laptop processing , digital sound art and other instrumental groups such as AMM. Foldings succeeds in channeling these influences in a non-electronic context, creating a new sense of aesthetic possibility for chamber group performance and composition. It’s a music constructed of defined contrasts between sound occurrence and sound absence where the smallest gestures speak volumes without a dominant amplitude. As with “still art” there is a solidness of sculpture, architecture and high sonic awareness. The nature of the way this music is performed can result in very still or static musicians – there is very little to actually watch – it’s all about an understated sound language with carefully chosen players and their “digital ears”.

As Morton Feldman said "Now that things are so simple, there's so much to do."