Feel Free can be performed in different kinds of setting (solo, group and installation). This plasticity reveals the openness of the methods applicable to Pitre’s broad scheme, essentially defined by a combination of “impermanent endlessness” (unless you decide to spin the CD in infinite repeat mode, which is highly recommended) and pitch fluctuation inside a Max/MSP-generated system where variable structures and conscious decisions by eventual players are all part of the equation. For this version the instrumentation includes guitar, hammer dulcimer, harp, cello, double bass and violin; this says a lot, in consideration of what we know about this composer’s past work. Pitre’s interest in just intonation and slowly flowering acoustic plants places him in the realm of psychoactive minimalism straight away, and this record is a glorious illustration of how relatively simple means can yield extraordinary results without the need of beatification processes. Adjectives like “consonant”, “balanced”, “warm”, “glowing” and “kaleidoscopic” can be utilized to describe how the sonic flow manifests itself to an open listener. Also, a slight tendency to more visible motions emerges amidst the stretched tones and the bright lights engendered by the superimposed strings. This is mostly induced by Pitre’s harmonics describing basic fragments of melody and by the ebbing and flowing of the other pitches, frequently grouped into organisms that literally breathe, thus attributing additional levels of soulful liveliness to the whole. Consciously or less, the ensemble never leaves the harbours of brain-reinforcing harmoniousness, still allowing the murmuring traits of the lower frequencies to affect our heartbeat, slowing it down for long minutes of anti-stress concentration. A wonderful piece of music, meditative and challenging at one and the same time.