Moljebka Pvlse, in this case are represented by a three piece band. Apart from mainstay Mathias Jacobson, Maria Nordin appears on violin. Karin Jacobson is credited with bells, thunder tube and walking in leaves on styrofoam. Their album-side length opener, Ravha, is without question the standout track here. Everything which follows appears relatively insignificant in comparison, not that the rest of the album is at all bad. The track at its inception is made up of all found sounds, collaged in such a way to make music of everyday sounds, whether it be public address systems or abstract electrical current hum.

What is especially intriguing is the fact that, though they are assembled for forward motion, the sounds don't sound fussed with or overly modified in the studio. The act of using environmental sounds in the Cage-ian spirit that music is natural and needn't be created by traditional instruments is certainly nothing new. But Moljebka Pvlse appoint these sounds with a refreshing lack of adornment, and a willingness to let the elements speak for themselves. They don't make an attempt to shape them for their own means. And that's just the first half of the piece. One would think that the addition of musical elements would be at odds with the tone of Ravha, but it works surprisingly well. The violin, in particular, melds nicely with the background sounds.

So, yes, the rest of the album pales in comparison to this towering achievement. Seventeen Migs of Spring offer five tracks here, and they seem more interested in the bluster of electricity. They attack these pieces, credited as Electricity Gardens, with fuzzy noise, and a more abstract focus. Their music is bold and arresting in the beginning, but after a few minutes, becomes a bit tiresome. This album is worth owning in the very least for its exceptional first half. Any joy that can be gleaned from the second half is merely a bonus.