EVE is maybe the most intensive piece of music I ever composed. It took me two whole years to create those seven minutes of 4-channel music, of course, including the development of methods to transform sound, which I used in this work.
During these two years I did not change the volume setting of my monitors. This was necessary to obtain a solid form, not irritated by daily changing moods. Because volume is a very important aspect in this composition (I was quite surprised when I read a review calling EVE a "silentish" piece of music. Well, yes, if you play it right after highly compressed pop music or after the newsreader without changing the volume, you may find it silent).
First of all, I made a sort of scaffold, representing a movement, starting far away and coming very close during seven minutes (a long fade, which gives the feeling of such an approach). This scaffold is finally worked away, substituted by much more complex musical development.
The movement starts as an Argentine chord, still far away. Coming closer, it changes its character, but not until the last moment; it resolves in a splash of acoustic splinters and wreckage, which swashes over our heads.
The spook is over, however, there still is one late-coming eddy, crossing the scene diagonally.