Sulphur is an element already discovered in ancient times, the mineral cinnabar HgS was used in prehistoric times as a vermillion pigment, while much more recent but still ancient scriptures refer to it as (hellish) brimstone (burning stone). Sulphur was used to produce the first matches in China, almost two millennia ago. Its properties were then used for fireworks (to drive out evil spirits), and later this was developed into gunpowder (to kill enemies). Small wonder that in historic pre-scientific times Sulphur was associated with evil, and the devil.

The music series of the Halogens is colorful, using mosaics as a formal principle, reflecting the eagerness of halogens to chemically combine and form both salts and organic molecules. Bromine is important in biochemistry, which is demonstrated in the application of KBr Potassium Bromide as an anti-epileptic medicine from 1857-1912, when it was replaced by phenobarbital. The music of these halogens expresses the connection to biochemistry by its use of rhythmic elements and its special treatment of musical time (hence also the virtual modeling and mosaic form).

The music of Fluorine is thoroughly compounded in that it consists of a mosaic of moments that are linked together to create the larger form. The original sounds were created using virtual modeling by means of the Kaivo instrument created by Madrona Labs. These sounds were created, modulated, and modelled in Bitwig Studio, creating basic audio events. These were then composed into a final musical form in Reaper.

Haunting pulsations are the basis of the music of Caesium. A long and extremely slow crescendo begins the music, and in mirror fashion, a long and slow diminuendo al niente ends it. The sounds used have been created using a semi modular synthesis, involving a virtual modeling.

Whereas music normally sounds against a background of time, this music suggests sounds on the inside of time itself.

While the music of Natrium resembles a somewhat singular obstinate idea travelling through various spaces, each time adapting to its environment, it always has an undercurrent of time, suggested fast rhythm, and even haste and a sense of speed and hurrying. The tempo of the music of Natrium resembles the Jazz concept of forward motion (fast music without fixed structures in time). Such pulsations, sometimes resembling rhythm, but always with a certain drive, play a role in all the alkali elements, most of all in Caesium, the atomic resonances of which have been used in extremely precise atomic clocks since the second half of the 20th century. The music of Kalium has slower basic pulsations overall, and even seems to pause at times, but it does share the traveling through environments we heard in the Natrium music. The sounds often evoke suggestions of life, both animal and plant life, sometimes even quasi-intelligible voices can be heard, as well as the environment with which all life is interconnected, and depends upon.