The composition technique involves recording the sounds through various means such as a musician playing sustained notes on instruments, recording the sounds transmitted through different materials through the use of piezo-transducers and using software instruments. These recordings from the piezo-transducers are manipulated with the help of synthesizers. The resultant sound is achieved by layering these continuous drones, which produce what David soldier terms auditory hallucinations. By layering these recordings over each other in increasingly dense structures my intention was to envelope the listener in sound so that the listener can experience the sound from within the sound, what Douglas Kahn terms as listening inside sounds. What is important about this is that by enclosing the listener within sound, the listener is unable to leave the auditory space of the piece and thus fully able to experience the most essential dimension, namely time. In my attempt to create the drone and extending their duration I tried to create some drones with no discernable beginning or end. This acts upon the listener in time and alters our perception in relation to time slowing it down. The pulsating sound generated in loops creates a space in which the temporal beats are subdued and creates a trance like state. This makes it possible to consider the compositions as a temporal form, which could inform a consideration of Deleuze’s concepts of the time of chronos and aeon. Wherein the sounds having a defining attack and decay relate to chronos (the measuring, fixing, structure creating mode of time) and the sounds having pure loops, with no discernable beginnings or ends relate to aeon (indefinite time of event, which is at the same time going to happen and has just happened, which eternally returns).