"The composition moves between different dimensions: between music without text and recitations without music, semantic and phonetic, between deconstruction and reconstruction, clarity and blurriness, between noise and note, undertones and overtones, between the concrete and the transfigured, becoming and vanishing", according to Ostrzyga. Overtone singing - sung at first by the choir and then later continued as a solo voice - is used as a very effective, well-placed stylistic device. Combined with percussive interjections from the choir - in several places during the piece the singers create sounds using glasses like wind chimes - Ostrzyga takes the perspective of the composition from this world to the next.