A musical concept that has the potential for eluding its capture as a commodity object does not merit a review as such, but should perhaps give rise instead to a series of observations that can spark-off other observations:

1) The peal of a church bell is sampled, copied and transposed to create eight bells sounds. That each bell sound is tuned differently from the original sound source means that each peal is at a different pitch and lasts a different duration. At the very beginning of the piece all eight bells strike simultaneously and, due to a tuning glitch in the sound editing software, the culmination of the piece, all eight bells striking simultaneously again, does not occur for over six years. The listener is therefore faced with a piece of music that, whilst lasting for over half a decade, never offers up the same conjunction of notes nor the same rhythm s over its entire real-time durations.

2) That the length of the piece is determined by a return to the musical moment with which it begun, can be related to an interest in carrying the mathematic logic to its extreme point so as to parody the 'will-lessness' of such musical rationalisations and draw attention to the way technology can come to alter perspectives and effect ways of thinking and acting. The 'canon' form of classical music and the loop-culture of techno are here detourned to reveal the cultural mania for resolution and the political conformism of privileging certain moments over others.

3) Here the listener is faced with the prospect of having to wait six years for resolution, which is itself a commentary on the passage of time: for instance the piece seems to accentuate a past moment, its starting point on 25th February 1998, as still being present. History, rather than nostalgia, could be seen as being already in-built into the piece.

4) Although it is not intended that the piece be listened to continuously for six years the sense of absurdity that emanates from the logical basis of the piece raises questions about the valorisation of time: there is work-time and free-time, to name just two, but above all there is the search to find time and space for self-expression and social transformation. The utopian dimension of this piece (an imagined six years of listening) implies that capitalism and survival have been superseded.

5) The overarching duration of the piece could be seen as instilling a sense of transcendence but, as the timbre of the bells imply, it is rather indicative of the materiality of process, history and memory. Being within a six year loop the listener reels with a vertigo of possibility.

6) The many micro-moments of the piece function in a way that evokes the music of Morton Feldman where what ostensibly sounds the same, is, in fact, a series of nuances, aspects of the same thing, that belie a perceived repetition. Where Feldman used the 'imperfections' in Persian carpets as a source of inspiration, here, the glitch in the sound-editing software is used to similar effect. It is this glitch that, perhaps, also leads to the sound of the bell remaining un-effected. Instead of hearing processed sound, the clean timbre of the bells striking against each other in unanticipated patterns and combinations, their differing lengths of decay, is sufficient to create patches of reverb and minimal interference. Similarly, the sound of the bell is recognisable enough to allow-for listeners to drift and explore concepts of their own without being pointed in specific directions by a 'composer'. That the piece is unfinished and is in-process means that those established differences between 'composer' and 'listener' are not in operation.