I went to quite a far place in terms of rhythm with Helix, but not necessarily in terms of time signatures and cross rhythms. Prior to writing Helix, I had been transcribing a lot of folk music from countries such as Bulgaria, Greece, Turkey and Egypt because I really wanted to understand what it is that makes the soloist's lines so amazing - what is the magic there? One of the things I figured out through transcription is that these expressive melodies that have sensuality and human earthiness about them tend to accelerate going into the centre of a phrase and slow down when coming out of it. I have applied this playing style in Helix using western notation, which required a lot of practice.