A multi-tonal hail storm with a Hague School slant; a gliding tone that fans out, is distorted into a drip-like sound, and then transforms into chalk scraping on a blackboard; electronic sound fields in which reverberation, and cracking and ticking sounds play a major role... The patterns of melting and sliding tones are nearly classical in form, something Kristoffer Zegers readily admits with the confession that in this regard, he is 'quite the Brucknerian'. It is logical, this apparent contrast between firm structure and liquid sound. It stacks up so well: dry acoustic instruments versus warm-blooded computers, esoteric dreams versus rebellious shin-kicking, abstract sound versus concrete stories, an intimately directed personal versus formalistic. Add to this good days versus bad days, up versus down.

It all comes together in Flexinom III. This piece – which Zegers called 'a study into my own feeling' and gave a title that joins 'flexibility' and 'metronome' – is the expressionistic climax of the album. The sound deepens and flattens out, seems to enter a tunnel, becomes numbed, ebbs away in waves, compresses itself into peeping and finally broadens again to nearly orchestral proportions. Amid every kind of sputtering and crackling, triads are richly sprinkled into the mix and a sawtooth wave provides relief. It is an emotional self-portrait of a composer who is aware of the influence of his moods.