In his essay centred on the infamous Norwegian black metal scene, Bogue argues that the music of that scene did not, in itself, ignite the lawlessness that became associated with it, but, as a "complex of refrains", combined with other "patterns of interaction" around that scene to create the conditions for the tragic events that were to unfold.

Deleuze's "refrains" are the rhythmic patterns in a network of relations between organisms, their context, and the milieu. A refrain can be "deterritorialised", lifted from the context where it developed, and "reterritorialised" in a new context, depending on the autonomy of the refrain from its context. It could be argued that the refrains of war have a large degree of autonomy, moving at will across the world, from the desert to the city.

The intervention at the benchspace takes the refrains of war (sound, metal, current, rhythm) as the basis of a musical performance, engaging with the potential of "becoming-other" created in the space between war and music, and creating a "sonic analogue" for the proposed transformation of the benchspace into a space of remembrance.