In this collaborative account of Iddon's Sapindales, the authors recount how their experiences of live and virtual clarinet sounds and environmental sounds combine in varied ways. By focusing on relationships among sonic layers, the authors emphasise the dynamic interplay of live and recorded performance, music and environment, the real and the virtual, the abstract and the concrete. Each relationship involves mediation and ambiguity, with elements that alternatively split apart or join together. The listening outcomes that we describe repeatedly highlight a positional swing between subject and object, as the authors reach across explanatory modes, drawing on phenomenology, musicology, psychoanalysis and ecological psychology, among others. We aim to capture the process of aesthetic listening, a process that is live, interactive, constructive, imaginative.