What I note most about this piece is that it's experimental nature was born out of musical curiosity at its purest form: sound, letting alone the accident-induced creativity. As for the results, a eclectic euphony. The sheer amount of interplay between the SFX/noises/textures has an attractive effect. In part, I ascribe this effect to the steady bass rhythm. It's a powerful reminder of this piece's musicality and ties them together well; however,that being said, the rhythm occasionally becomes a bit too overwhelmed by the melodies and accompaniment. This peccadillo is more pronounced before it switches to post 3:30, after which it becomes relatively stable.

But I must confess that I find experimental pieces like these difficult to analyze because of their complexity. Needless to say, "melodies and automation clips, as well as effects within the mixer and within NI Massive," with which I am unfamiliar (in addition to industrial music and ragga). My thoughts may not hold much weight, but I am compelled to give them because of how pleasant Perfection is Imperfection is to me.

Side Note: I would comment on the "cogs" you mention, but I have no idea of what this term reference. If I had to guess, it would be the high pitched trills played in descending eight-notes. That, or the mid-range, metal "stabs" played in halves. In either case, they both hold natural positions. That is to say, had either of them been removed, this piece would have a noticeable atmosphere shift. Though, I suppose the same could be said about the other noises.