Comprising two pieces that combine to modest EP length, this set is a markedly different affair from its predecessor. The first track clocks to just over a third of an hour opening and closing with a single resounding string pluck. Between those stark temporal markers, Roebke reveals a second meaning behind the disc's title by inserting lengthy intervals of rest on his instrument that decrease and increase incrementally in duration as the piece progresses. The first pause lasts nearly half a minute, but feels much longer and the effect at first resembles Cage's 4'33"" as acoustic aspects of the studio space in relation to Roebke's bass become audible in the near-silence. These frequent segments of relative stasis add both gravitas and definition to the moments where tones and patterns are sounded. The buzz and bustle the second piece serves as welcome contrast.
Roebke's percussive preparations to the body and strings of his bass further vary the sound menagerie. Creaking, tapping and rubbing ornamentations scuttle around the edges of fully-rendered pizzicato progressions. Both pieces makes canny use of these ulterior elements and there's even a section in the first where the squelchy textures of what sound like muted electronics accompany Roebke's quiet string manipulations though they very well may be the product of acoustic sources. In sum it's a musical experience that actually improves through repeated encounters as the frustrations of expectations fall away in favor of the logic and cohesion of Roebke's elaborate and spacious designs. The rewards may not be as immediate and easily-won as his jazz-centered playing, but they're every bit as manifest to the perceptive listener willing to make the aural trek.