As one might expect from the above description, listening to this is an intellectual experience,and certainly not an emotional one.  The sound is cold, sterile and devoid of relatable human organization (even if it was the humanly designed airport that generated these sound patterns).  Kubisch has layered the field recordings but left them mostly unaltered otherwise, by all indications.  Clearly, she is fascinated by what she has discovered.  In order to really enjoy this album, the listener must challenge themselves to be fascinated as well.

There are two tracks,the first a more active 20 minute piece titled "Magnetic Flights",and the second a very quiet piece called "In Transition", which is nearly 40 minutes.  The title track begins dominated by a throbbing, insistent pure tone which blinks, intensifies,and wanders in and out of tune with itself. As per usual with pure tones, it begins to grate on the earsquickly.  Luckily, there's nothing in thehigher frequency ranges and there is a warm low end to the pitch. 

The tone thins outafter 6 minutes or so, and a shifting lattice of quiet beeps and oscillationsremains.  I am reminded of Kubisch'sliner notes where she mentions that the electromagnetic fields are partlygenerated by the security machines: x-rays, etc.  Amassed in a chorus this way, they sound not unlike synthetic frogs chirping in a virtual pond. 

A couple minuteslater, the synthetic chirping is overtaken rustling swells of digitalwind.  This part is almost 'ambient', andI enjoy the bass frequencies in particular. It lasts most of the rest of the track, then crunchy interference patterns claim the final two minutes, leaving me satisfied.  Sections of the piece may have been difficult, but it changed quickly enough to be somewhat listenable.

 "InTransition" is where the real difficulty comes.  My attention span cannot engage with thistrack.  Every time I've tried to listen to this song in its entirety, I've fallen asleep...  Which is not to say its relaxing: large parts of it sound like a cellphone attempting to connect, and most the rest of the duration is occupied by slow metallic tones fading in and out.  The most positive thing I can say about it is that somehow, its rhythm does remind me of the constant comings and goings ofthe airport.  There's also one reasonably mesmerizing couple of minutes where a bassy tone repeats over and over and almost becomes a mantra.  It doesn't have'movements' like the first piece seemed to, and keeps basically the same feelthroughout.  It's not particularly unpleasant to have on in the background, but I don't get much out of it.

"MagneticFlights" is an interesting album but not necessarily a listenable orenjoyable one.  It should be consideredmore of a scientific document.  If you are a rabid fan of New Music or music created through intensely experimental methods, check this out.  Otherwise,you'll probably either fall asleep or turn it off before it ends.  Personally, if the second track was more like the first I could probably absorb the whole thing in the one sitting.  As with many artists who work in this sort ofvein, I also wish Kubisch would shape the raw materials she has gathered a bit more.