There is a considerable imbalance between the presence of the music of Italian composer Pierluigi Billone in contemporary musical life and its presence in other media. The composer, now over 60 and based in Vienna since 2004, has appeared regularly on most of the major platforms for contemporary music, yet his music is only rarely reflected upon in print. This article attempts for the first time to illuminate some central aspects of his music, touching specifically on his understanding of Klang,1 on his structural and formal strategies and on the significance of the ritual and the corporeal in his oeuvre.