Read the review in its entirety on The Silent Ballet.
Unlike the "magic carpet sound" of Fennesz, Daniell (who plays in San Agustin) provides a more grounded guitar sound, reminiscent of other electronic folkscapes in the American midwest. As these three strangers get a feel for each other in opener "Unuberwindbare Wande", it is Daniell who provides the first road to follow, as he meanders around his guitar's neck, finding chords and notes like one picks berries. Buck's drumming here features bowed strings, gnarled shapes and clattered atmosphere, but his precision is notable (which is no surprise since he plays for The Necks). As the piece builds, the drums begin to erupt like a warming mud pit. While Fennesz stretches his granulated limbs and settles into an ambient skree, the listener must note that this is a very dense and fascinating way of people saying "hello" to one another. The musicians, after all, had never met before the day this was recorded.