Birmingham ElectroAcoustic Sound Theatre composers don't produce music in the commonly-understood sense, but instead diffuse sound through a 70-channel system that surrounds the audience.
Understandably, their works rarely have recognisably musical titles.
So Scott Wilson's BEASTLY Birthday Fanfare at the CBSO Centre was an exception.
There was no evocation or even manipulation of trumpet flourishes to celebrate BEAST's 25th anniversary, but aural fireworks and a fire engine siren did the job well enough, and also signalled that technology-driven and esoteric creativity can still be highly accessible.
The point was driven home by Alistair MacDonald's tribute to Delia Derbyshire (of Dr Who theme tune fame), Psychedelian Streams, where processing of 1960s source materials generated an almost narrative sense of space age daring-do.
Most vivid of all was BEAST director Jonty Harrison's depiction of a sub-marine soundscape, Undertow.
The ability of the diffusion system to manipulate sound spatially and the mesmerizing purity and quality of its output is particularly effective in relation to liquid sounds, and the sea also featured in Andrew Lewis' Cable Bay, which closed with a disconcertingly graphic depiction of waves breaking at the auditorium doors.
Anup Paul's throbbing and pacey Borders and Chris Tarren's explosive, forthright Fluidity-Tension, though more abstract, both made strong, coherent statements, but Lisa Whistlecroft's death among the apple trees and Annie Mahtani's Past Links were less compelling.
The latter, like Tom Cahill-Jones unconvincingly lengthy Box of Tricks, explored overlapping vocabularies of whooshes, twitterings and the resonance of items dropped, struck and spun which, despite some structural shaping, felt like works in progress - sonic adventuring needs a little more focus to generate BEAST's trademark excitement and magic.