Section I (Duration: 8’12”)

0’00” – reverberating, deep electronic tones. Whistling, growling, neighing trumpet ensues with percussive accompaniment and electronic processing. Lone trumpet enters

2’32” – alto saxophone joins, percussion long tones. More audible electronics

4’30” – elevated energetic state. Interlocking trumpet, alto saxophone and percussion with frenetic lines (Empathic Speculation)

5’52” – reverberating state returns, leading to wailing alto saxophone solo

7’10” – drums join (Empathic Creativity) leads to saxophone and drums duet

8’10” – end

Section II (Duration: 8’10”)

8’13” – electronics and trumpet effects lead some dramatic interplay. No alto saxophone here

9’40” – evil-sounding, didgeridoo-like flugelhorn. Percussion joins (Empathic Speculation)

11’07” – alto saxophone joins playing a counter melody. Leads to full ensemble improvisation (Empathic Creativity). Slower build to intensity this time

12’50” – intense moment. Fast, energetic, accented/non-accented motioning (Empathic Speculation)

14’41” – another elevated state. Multiple rapid interactions from all players. Using extreme range, dynamic and textural contrast (Empathic Speculation)

16’12” – slow fluid change of texture leading to next section. Percussive textures mixed with contrasting trumpet/alto lines (Empathic Attunement)

Section III (Duration: 5’27”)

16’23” – short sounds and interactions, mainly acoustic instruments

16’50” – introduction of pulse on tom-tom (intermittent at first)

17’39” – energy levels suddenly high after trumpet and drum dialoguing (Empathic Creativity). Alto enters

18’03” – long, sustained tone from electronics fade in

18’44” – drum solo, high energy. Accompanied by languid trumpet and waves of electronics

19’12” – alto saxophone joins drums in elevated dialoguing (Empathic Creativity)

20’22” – peak of activity in the set so far (Empathic Speculation)

20’40” – plateauing of intensity. Then drums embellish to continue elevation

Section IV (10’50”)

21’50” – introduction of electronically sustained tom-tom pulse. Drum solo continues as energy unravels and electronics process. Cymbal cadenza

23’08” – alto saxophone joins. Feeling of tension building again as drums and alto play a duet. Tom-toms with mallets interact with electronic sustained pulse

23’56” – trumpet enters playing contrasting counter melodies. Horns exchange melodic ideas

25’10” – tom-toms start to harmonise with pulse and play against the rhythm. Horns continue dialoguing. Energy drops as horns blow long sustained sound through their horns

26’31” – drums carry melody, as bass drum begins to replicate pulse

27’10” – alto saxophone enters with an ascending chromatic line. Then alternates similar phrases with space in between as reverb continues. Leading to alto saxophone wails

28’18” – trumpet enters with quartal melodic approach (Empathic Speculation)

28’34” – back side of mallets start intensity leading to angular alto saxophone solo, piercing trumpet sustained notes

29’20” – rock-feel from drums increases intensity again. Trumpet counter melody. Alto saxophone/drums synching occurs as electronic pulse continues (Empathic Speculation)

30’47” – climax of set (Empathic Creativity)

31’11” – alto saxophone and drums pause together leading to loosening of energy, long sustain sounds, slowing down of textures, confluence of melodic lines, sustained trumpet

32’31” – trumpet stops, percussive rattles

32’40” – Finé