The cover of Music For Faking pictures two grinning faces, illustrating the playful atmosphere of the collaboration between Ratkje and Marhaug. Although both accomplished and respected musicians, they refuse to take themselves, or their art, seriously, preferring instead to continuously challenge each other into more staggering assemblages. Collecting interferences, field recordings, processed noises, samples, and other sound sources and amalgamating them all, Ratkje and Marhaug confront traditional perceptions of music, firmly placing their work out of context and focussing on the essence of improvised music. This results in both albums being incredibly organic, with sonic textures, ranging from silky analogue waves and highly polished digitalised noises to abrasive distortions, treated vocals â€“ including screams â€“ and radio interferences, continuously provoking cutaneous reactions. It is difficult to disassociate these two albums, so close are they in essence. Both Music For Loving and Music For Faking provide dense atmospheric soundscapes, and both are equally frisky. However, of the two, Music For Loving appears slightly more contrasted, in part rougher, more abrupt than its follow-up, and elsewhere softer, more delicate. Yet, the soundscapes of both records constantly fluctuate between sonic assault and delicate restraint, often in a same piece and often without warning.