This release marks a musical homecoming for Sara Ovinge, since she has chosen a slightly more convoluted career path than most violinists. Sara has sought out and immersed herself in contemporary music, Iranian music, composition, improvisation, and art-pop amongst several other musical pursuits. Her entire M.O. points to a strong and intrinsic need to be a 'co-creating' musician, one who leaves her mark on the musical expression in a more comprehensive way than simply playing the notes on the stand.

Meeting with Kjetil Bjerkestrand in 2019, Sara found something she was looking for. He is the epitome of the symbiotic musician, drawing on experience and inspirations from a wide range of musical styles, from rock, pop through to contemporary. He describes the composition process as one part search for fixation points in a series of possible events, and one part exploration of friction caused by the union of the elastic and the mechanical.

A theme that Sara aimed to pursue in the project was the juxtaposition of the electronic and the organic. Philip Glass's Second Violin Concerto is arranged for synthesiser and strings, a kind of updated version of Vivaldi's string orchestra with continuo. But where previous recordings have gone for an electronic sound resembling the baroque harpsichord, Sara wanted to create a more electroacoustic soundscape, thus achieving a common thread between the two works.