An extended iterative, cycling, dissipating cloud of fragments, constantly shifting focus, which throws up detail, evolves, returns, settles and re-dissolves; it's a four-dimensional explosion in which stretches of baroque, folk themes and Byzantine liturgy exist contemporaneously alongside modern and (arguably) post-modern materials and techniques, all shaken loose out of the same experiential block, much as strata emerge as tectonic plates fold one time over another. Long, beautiful, tonal stretches eventually emerge, lighter than air, drifting and attenuating to reveal, dreamily, the old simplicities behind. Full use is made of the 70 strong Macedonian Philharmonic Orchestra with subtle additional colouration from Kiril Dzajkovsi (live electronics), Nikola Kodjabashia himself (prepared piano) and Chris Cutler (extramural percussion). Immersive, timeless and unmistakably new, this music eschews existing schools to explore instead its own influences and contradictions. Great sound, massive footprint.