Composed of six improvised suites, the album is a fusion of jazz and Arabic music,[1] melding Hellborg's polyrhythms and Middle Eastern modal harmonic structures with authentic sounds of ethnic instruments played by local musicians.

[3] The result is a collection of intriguing, though pleasantly accessible,[4] silence-breathing arrangements with virtuous melodic exchanges, unison played ideas and haunting (at times even dance-like) rhythms.

Jonas Hellborg plays here an acoustic bass,[5] custom built by luthier Abraham Wechter, an exquisite work of art also to be heard on some of his other albums ("Silent Life", "Octave of the Holy Innocents").

In his hands, the instrument receives the versatility of a wider sounding, deeper range guitar, capable of appealing melodic runs, chordal approaches, but also of the thumb slapping, string pulling and popping one would expect from an electric bass.

[6] Darbuka is a hand-drum heard in the Middle East, North Africa and Eastern Europe, similar to a clay pot (it can also be made of metal or wood); Riqq is a small percussion instrument similar to a tambourine used in traditional Arabic music, originally built as a wooden frame with jingles, covered with fish or goat skin; Ney is a traditional Middle-Eastern end-blown flute, with a fluid, sensual and floating sound.