This piece was composed to celebrate the fiftieth anniversary of the birth of musique concrete. Sound-types characteristic of the music’s origins (creaking doors, trains, etc) appear atavistically, structurally opposed to contemporary sound-types (constructed with granular synthesis, spectral inversion, etc) in a condensed sonic drama, with the two poles in the end achieving a sort of symbiosis. I would like to thank Laurie Radford for providing some of the original sound recordings used in the piece.