I've recently read on an essay by a philosopher who tried to analyze the consequences on personal life of somehow dramatic changes of labour market that one of the few positive aspects should be the corroboration of the so-called sense of community. Even if some cantankerous people taking part to rooftop garden committee or council meetings could invalidate such an idea, it's partially true. The reason of my premise comes from the sonic strategy that Russ Young followed on this nice release, which could be filed in that branch of ambient music that focuses on the attempt of dunking field recordings into a pool of smoothed frequencies as the source of Young's field recordings are mainly familiar sounds that he grabbed from daily events, objects and places, which could be considered as the closest elements of Young's sonic community that he amalgamates and coagulates in his pond. He seems to take them back and "ennobling" by means of the sounds that he manages to extract from them in order "to create a kind of holographic image with sound", according to his own words, so that listeners could stand entranced by the remote and somewhat emotional rendering of Hewson Road in Lincoln, Russ' hometown, on the track of the same name, or by the hypnotical reverie inspired by the radiation from the nearby Belmont transmitting station on "Belmont Transmitter" as well as by some of Russ' neighbours such as John, whose bike he uses to go to workplace every day gave inputs for "John's Bike", or Phil, whose 8 upright pianos he kept in his house are the main "voice" of the amazing "Phil's House" where Russ imagined they got played by driving rain. The mastering by Taylor Deupree is a sort of guarantee quality as usual.