Listen to the opening of the movement. Notice the metrical displacement.
The next parts to enter are the two bass guitars. They each have a one-bar quaver ostinato but with the accents falling on different beats of the bar. Again note addition is used to build up the full pattern.
Listen to the bass guitars. Notice the metrical displacement and the way that this new rhythm cuts across the guitar rhythms.
Next the solo guitar starts to play a three chord pattern: C, B minor and E minor. The rhythmic pattern cuts across both the guitar and bass guitar patterns creating a cross rhythm.
A cross rhythm is the effect produced when two or more conflicting rhythms are heard together.
The key changes suddenly to C minor and then back to G and then the two keys alternate quite rapidly.
The time signatures alternate between 3/2 and 12/8. Eventually the bass guitars and Guitars 5 -7 fade out, and the high guitar parts finish the movement.
From here on, a long crescendo leads to a final chord built on the two notes E and B. There is no cadence and no complete tonic chord so we are left wondering what key we have finished in.
Listen to the final bars of Electric Counterpoint. Notice the ambiguity of the final chord, the contrapuntal texture and the ostinato parts.