For their first collaboration as a duo, rather than succumbing to the devastating fury characteristic of so-called "noise" music, Michael Morley (electric guitar) and Michel Henritzi (lap steel) opted for the open sea and inner landscapes, rather than the ghostly strangeness usually associated with them. At no point did the emergence of embryonic melodies flowing from their fingers frighten them. On the contrary, these melodies allowed them to deeply explore the contemplative and hypnotic dimension of listening, through intricate interweavings of constantly shifting sonic masses. Although they conceived Mirrors apart, a fascinating maelstrom nonetheless emerges, sculpted gradually like a long, two-sided explosion. The first, in the form of emanations, relays primal forces gestating since the advent of the blues. While the second, majestic and devoid of any ostentation, explores a succession of stases that it could have extended to infinity, so much does the suspension which constantly defers the fall abolish any notion of time.