Paragaté do not offer a lot of detailed information regarding the manner in which they constructed these recordings. Instead they tell us who worked on which pieces: there are two of them (Tom DePlonty and Tim Risher), and they each claim sole responsibility for two tracks, the remaining five being ascribed to some degree of collaboration. The detailed mechanics of that collaboration are, again, unstated, so a joint credit could mean more or less anything; similarly, the fact that the solo tracks are still credited to the creative entity known as Paragaté suggests that we are to regard them, in some sense, as collaborative work.
Quietness has been an important trope in avant-garde music since the days of Minimalism I guess, but it has been articulated in many ways, within a diversity of musical practices. The near inactivity to which some free improvisors have gravitated, or John Cage’s invitation to listen to the contextual ambience for four minutes and thirty-three seconds, or the work of many ambient composers, all exploit the signifying power of low amplitudes. Place is also an important theme in many musics; in Cage’s famous piece, the performance space itself becomes composer, performer and material, whereas ambient music usually aims either to colour a place, or to invoke one.