Love song is based on the principle of the repetition —repetition understood as a reproduction and experience of time in which sonic objects are, for their part, cells, plots of a large-scale Time. This time is enriched, even disturbed, by two elements: on the one hand, the almost infinite repetition, which may seem to go against the living nature of the music, and which is nevertheless a compositional decision; and, on the other hand, the perturbations of this same repetition, sort of deviations operated under the horizontal surface of the sound.

The ideas of repetition and object underlying the piece are inspired by modern audio techniques —loop and sample, respectively. These tools allow listening that substantially modifies the way of understanding and perceiving sound and music.

Love song is also based on the principle of the process. However, there is no “formal glissando”, Each material has its own space-time. Four large sections build up the piece, and each one proposes a way of conducting the sound objects, and, in this way, a renewal of musical dynamism. This generates a motor energy that propels the music towards an extremely constricted time, where the object is no longer isolated to be part of a great whole, which pursues a physical and bodily sensation of sound.

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