Caterina remains consequent, but expands her palette: compositional devices that have more to do with classical than minimal music, more sounds, and explores in a very understated way all musical possibilities of the sequencer, rather than its technical limits: ostinato bass lines, entangled rhythmic lines, and for me the biggest surprise: two sequencers with the same figure modulated in parallel, in dialogue. Rarely does music sound so cutting edge but with such deep classical roots. HATS OFF!