Alluvion begins with an electronic soundscape featuring bird calls that are slowed down to the point where they resemble the deep, resonant calls of whales. Over the course of ten minutes, these sounds gradually increase in speed, eventually revealing their original state as bird songs. This transformation symbolizes the underlying unity between seemingly disparate forms of life, drawing a parallel between the vast oceans and the boundless skies.

Overlaying this evolving electronic backdrop is a chamber ensemble that performs music rooted in Persian, Eastern European, Black American, and electronic music traditions. The music weaves together approaches from Persian classical music, utilizing Gushé Bayat Tork and Shekaste, alongside ornamentation and complex time signatures from Eastern European folk traditions, experimental electronic textures, and groove-based rhythms rooted in American pop music. Each element contributes to the piece's rich tapestry, reflecting a trans-cultural dialogue that highlights the common threads running through diverse musical languages.

As Alluvion progresses, the electronics and acoustic instruments gradually converge timbrally, symbolizing the unification of different worlds and ideas. The bird sounds, now fully realized, blend with the instruments, creating a soundscape that not only celebrates the beauty of sonic diversity but also emphasizes the connections that unify these forms of expression.

The title Alluvion is inspired by the natural process whereby different ecological elements accumulate and gradually form new landscapes. Just as sediments carried by water eventually build new landscapes, different cultures and musical practices can also coalesce and blend into a new layered soundscape. Alluvion invites listeners to reflect on the relationships between nature and music, tradition and innovation, and the shared human experiences that connect us.