It crunches, rustles, whispers, rattles, bubbles – extended playing techniques, preparations and various everyday materials produce a seemingly endless variety of sounds in Eloain Lovis Hübner's compositions. Hübner does not understand sound as fixed material, but rather as a state or “as a living relationship between bodies – instrumental, vocal or electronic,” as booklet author Sophie Emilie Beha describes it. The music is constantly in motion, attracting, repelling, tilting, shimmering, breaking apart and reassembling itself. It creates spaces in which listening itself becomes a physical experience: focused, fragile and yet full of energy.