A soundtrack-like meeting between Turkish guitarist Helvacioğlu – aiding himself with electronics – and the formerly mysterious to me Bandt, an Australian woman bowing and plucking a peculiar instrument called Tarhu, whose range is in close proximity to a cello’s. The essential intent, surely worthy of praise, is that of a lamentation for the gradual disappearing of an endangered species. The music, which obviously strives to give an idea of a sense of loss connected to the underlying subject, was almost entirely composed on the spot (read improvised). There’s an attempt to raise the levels of poignancy through Bandt’s plangent lines drawn upon a series of semi-abstract backgrounds in which Helvacioğlu’s axe is always discernible as the originating source; indeed, producing “new” textures with six-stringed machines played conventionally is quite a task, computer assistance or not. The most experimental track, “Circle Around The Shadows”, shows dissonant traits that produce a few moments of safe puzzlement. As far as the neatness of the sounds is concerned, nothing to say: the recording’s quality level is spectacular. On a compositional point of view, the satisfaction is weakened: pretty simple intuitions leaking dreamy honey once too often, over-processed sonorities trying to hide the lack of genuine impact. As initially hinted, this could work as a well-designed footage commentary; however, as an artistic statement per se it won’t probably stand the test of time.