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Microtonal articulations and noise concretions form the expressive stylistic elements of this extremely organized network of audio emergencies. They include the spurious frequencies apparently produced by hissing devices and the hypnotic patterns with almost industrial textures that have been calibrated according to mechanical envelopes. In “State of Rushing” it does not seem immediately evident that these sounds are the result of manipulating traditional instruments, such as the tuba. Just attributing that to virtuosity seems restrictive in the case of Robin Hayward, even though the artist has spent a lifetime studying and researching this specific music medium. This process is only apparently mimetic, but the creative potential of the “guided vibration” challenges this definition, exploring the limits – or lack of limits – that transcend the boundaries between traditional and contemporary music. Musical tools as interfaces, fluid experiments, a continuous memory of endless possibilities, poised between the imitation of empirical data and a complex conceptual production, are all free from unnecessary cultural ballast.