Ra’ash extends the tactile axis of the Souffle research from fragile friction toward excess, pressure and saturation. Harp and cello act as communicating surfaces in which fingers, bow and instrumental matter generate whistling arrows, trembling breath, granular noise and overpressure.

The title evokes noise and vibration. Instead of treating air as an immaterial sound, the work plunges it into resistant instrumental bodies: friction is compressed, resonated and destabilised until breath appears as dense, physical matter.