Rebekka Karijord’s two and a half-minute “Morula” seems built entirely out of voice. It begins with a simple sung arpeggio–a three chord, nine note statement. The voice seems processed, maybe auto-tuned, or maybe sampled. By the third time around its call is responded to in a higher register, with a contrasting shape. We also hear the original statement doubled, pitch-shifted, and staggered; the new notes add tension and dissonance to the original ones, making new micro-chords within the arpeggio. As the texture repeats and evolves we wonder: Was this sung or sampled and played? (Does it matter?) As if to answer our question, halfway through the piece we hear long open voice tones, like a virtual choir, telling us the chords that have been underlying those arpeggios the whole time. The open voices only sound for a minute before the piece ends as so many good pieces of music do: by going back to the beginning.