In this work, composer Rosemainy experiments by mixing concepts and features from Balinese gamelan with those from other music cultures. In the opening section kebyar-inspired unison attacks follow a slow melodic prelude. In addition to the use of typical Balinese gamelan techniques, such as interlocking, layers of melody and elaboration, and angsel rhythms heard at the beginning, a rhythm resembling a West African bell pattern (or timeline) is played on the kajar for several cycles. At particular moments of the piece angsel rhythms are articulated by progressively shortening a pattern in a way that is similar to the North Indian tihai. Although the composition often conforms to what is expected in Balinese gamelan, the composer occasionally discards certain conventions, particularly the traditional approach to melodic contour and harmony. She instead ornaments on stepwise descending pitches and “moving” reyong ‘chords’ that harmonize the melodic tones (rather than playing a fixed unison “byong”). In the final minutes of the piece, typical rhythmic features including binary subdivisions and avoiding the downbeat are discarded. Instead, the ugal subdivides the beat into three and is supported by the kendang which accents the downbeat. A final observation to note about the timbre is an overall staccato-like sound. In essence, consecutive pitches do not resonate long enough before being dampened. Although it is unclear whether this is intentional, it suits the composition well. In this work, the composer successfully combines both traditional and more contemporary Balinese gamelan styles with other music concepts in a way that resembles an overall Balinese aesthetic.