This chapter suggests that soundwalking, a seemingly trivial combination of walking and listening, is a complex activity that always comprises and entails some form of composition, recomposition and decomposition. Building on the term soundwalk compositon  I suggest that when soundwalking, we are traversing to some degree already composed territories and soundscapes. Moreover, in order to unfold and be conducive to certain experiences, those territories (and our mobility within them) neccesitate decomposition of other environmental, geological and cultural realms and, consequently, their soundscapes. In the proposed, expanded and critically revised approach to soundwalking, what we walk through and listen is not merely the here and now, but a much wider spatio-temporal territory that spans the past (even deep, geological time) and extends into the unknown future(s). Combining diverse technological and conceptual modes of field recording, mediating and broadcasting precomposed material and sounds from the immediate vicinity, soundwalking compositions presented in this chapter bring attention to particular locations: Vancouver's intertidal zones and Swedish most and least polluted lakes. While opening up to imperceptible aspects of those geographies, these pieces are simultaneously and, perhaps above all, exercises in (re-)composing one's ethical position within a mesh of scales, agencies and temporalities that constitute each and every site. The chapter concludes with a series of propositions for how to engage in critical, careful and caring forms of composing with soundscapes.