The first piece, "Study III", is the longest and slowest of the tracks here, a soporific, prolonged ring, a tinnitus-esque drone.  At twenty mintues, it fills all of side A on the vinyl version.  Its glimmering overtones modulate in a natural circular oscillation, reverent and patient, yet emotionless as metal.  All abrupt impacts have been removed from the ringing of the bells, leaving this protracted and smeared moment, a quivering, lingering resonance.  There are a few harsh harmonics in the higher ranges, but this is in keeping with the true sound of bells, and the ringing brightness is powerfully psychoactive.  As the sound subtly morphs and modulates, a variety of frequency bands are highlighted.  None of the depth of the natural sound has been lost in the digital processing; it is quite seamless.  I hear no evidence of looping or reverb, and yet the tolling of a bell could never be so smooth and continuous.

Side B takes more of a musique concrete approach, with rough sounding tape degradation and manipulation effects.  It is a much more drastic alteration of the source material, sounding like an LP covered in sand, a howling desert wind.  It is a pleasant contrast to the distant minimalism of side A, though also contains of the same drifting harmonic clusters as the first piece as it enters its second half.  An anticipatory chord breaths into being, filled with unconscious murmured thoughts, the collective dreams of all civilization.  Soon, it's as cloudlike as the first piece.

"Study II" is the last piece on the vinyl version, shortest on the album at seven minutes.  It is a single forlorn chord sounding amidst rushing winds, accepting and final.  I am struck by the emotionality of this album considering it is drawn from the sound of bells alone; perhaps it is only emotional in the sense that man has always projected his feelings onto the sounds of nature and bells.  Or, perhaps, it is the emotion of Andreas Usenbenz.  In any case, there is something enduringly spiritual and thought provoking about bells.

The digital release also comes with an hour long version of side A called the "Sleep Version".  The album as a whole is already suitable for sleeping, in my opinion, so this wasn't really necessary, however there are some notable differences with this version, such as a larger dynamic range and a highly disconnected and remote feeling structure.  Wide, thick swells of bass occasionally amass such a large volume as to completely envelop the listener's body in vibration.  Having attempted to record bells before myself, I know of the incredible bass frequencies found inside a resonating bell, enough to distort most any microphone.

This is a fantastic album to my ears.  The naturally ear pleasing sounds of bells have been arranged into a well paced and dynamic soundscape which does not overstay its welcome.  The three pieces on the record contrast each other pleasantly even as they are built from the same sound palette.  I am curious to hear this artist's work with other source material.