Creating what became the cover artwork for this release, musician and artist Benjamin Kilchhofer conjured salt paintings reminiscent of ancient runes and salt circles — improvised talismans of protection. Translating these expressions into sound using a hydro harp (water drops hitting tuned water-filled porcelain bowls), musician and artist Tomoko Sauvage evokes an embryonic environment, the cleansing and purification of salt water oceans. Artist Mehrnaz Rohbakhsh created a piece that arose from a drawing ritual — a meditation on textile, pattern, and code. In response, Museum Of No Art (Mona Steinwidder) worked her composition by “weaving the piece, layer by layer”. She was “particularly interested in the state one achieves when one works repetitively, stoically and excessively towards a form. Which leads to trance or meditation and creates its own immaterial energy.”

Dani Spinosa, poet of digital and print media, created a typewriter poem that emerged after consulting Hesiod's “Works and Days and Theogony” to learn more about the witch goddess Hekate. Synchronously, interdisciplinary artist Gavilán Rayna Russom had recently returned to research on Hekate, teaching about the goddess in her class “Queering European Witchcraft Traditions”. Russom spent time with Spinosa’s spell, spoke to Hekate, and then unlocked the gate, seeking to “stir sonic emanations that were radiant, multiple and liminal.”

The side ends with a composition by musician and artist Felicia Atkinson via an instructional text from conceptual artist David Horvitz. What is it like to inhabit the mind of a crow? This simple gesture to befriend a crow, to be in relationship with something other than human implies much more, a re-orientation to our living environment and forms of intelligence.

The B-side opens with electronic composer C.R. Gillespie’s sonic manifestation of a score by bricolage artist Andrew Zukerman. Taking compositional inspiration from the Smiss stone, Zukerman created a collaged visual score on staff paper that hints at the formal aspects of occult symbols and sigils, while remaining obliquely secular. Creating an interlocking tapestry of “Roman gamelan”, Gillespie’s track dramatizes the negotiating power and structure of the abstract score.

Over three days, iconic Canadian poet bill bissett created a jazz-scape painting filled with an ecstatic gathering of eidetic spirits, “connekting trembling xploring serching remote brooding grooving melodee solo lifting n refrain filling.” Immersing himself in the energy of the painting, musician and composer Idris Rahman overlaid three takes of bass clarinet and found that “melodies, textures and harmonies emerged without thought and the piece took on a life of its own.”