The four solo pieces that make up this album -ranging from six to 17 minutes long – were commissioned for an Italian radio programme and one gets the sense that Mazurek enjoyed having carte blanche to do whatever the heck he felt like, all by himself in the studio. Stark, precise and lonely cornet doodles are interspersed with bare, lingering piano chords with more than a hint of Morton Feldman's unhurried unfoldings. Fragmentary piano soliloquies are patiently mapped out against a backdrop of softly billowing, gong-like electronics. Brittle prepared piano sets up weirdly mechanical patterns, buffeted by chiming electronics like distant, muffled bells. The overall effect is like a collection of blurred snapshots of noir nightlife viewed through a narcoleptic haze. With three tracks dedicated to visual artists with a connection to Rome (painters Twombly and Caravaggio, and filmmaker Fellini) perhaps it should be no surprise that Mazurek's explorations come across like private sketchbook studies for potentially larger projects.