As well as furthering explorations into the creation of a subtle and meaningful syntax realised by means of finely crafted micro- and macro-structures, this piece seeks to create a world of fantasy, of fantastic imaginary new spaces and universes. This involves a conscious exploitation of ambiguity, of the indeterminacy of sound, teasing the audience with little bits of information. There are therefore two separate but related discourses, the programmatic and the technical.

This piece draws inspiration from the magical world conjured up by Shakespeare in Caliban’s famous ten line speech (The Tempest III ii 147). Ariel, invisible, has just echoed a tune sung by the drunken Stephano. This causes Trinculo and Stephano (the clowns) some upset whereupon Caliban says:-

"Be not afeard: the isle is full of noises,
Sounds and sweet airs, that give delight, and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears; and sometimes voices,
That, if I then had wak'd after long sleep,
Will make me sleep again; and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me; that, when I wak'd
I cried to dream again."

The speech is often noted as the point at which we begin to see Caliban as a human character who is redeemable, sensitive (to the world of sound), and who possesses spiritual and aesthetic sensibilities. It is a sublime description of the acousmatic listening experience from a composer’s perspective and shows remarkable prescience on the part of Shakespeare relating to the healing power of sound. 

The piece makes use of field recordings, the sounds of hand made bowed psalteries, microtonal guitar and the combined voices of The Jedburgh Singers.