Giusto Pio is mainly remembered for his collaboration with Battiato, with whom he co-arranged and wrote many of his unquestionable pop masterpieces, in which Giusto's fairy violin soared from classical virtuosities overflowing with melody and flashes of pure minimalism: but Giusto Pio, of course, was not just that. The long collaboration with Battiato was one of the most prolific and interesting during the '80s and '90s in Italy; this partnership took Pio to new heights in the fields of commercial and avantgarde music, with a great success in terms of popularity and discography. Most of the albums by Franco Battiato, from "L'era del cinghiale bianco" (1979) to "Unprotected" (1994), depending on the case, included Giusto Pio as co-author of the music or of the arrangements, as violinist or as conductor. All the tours performed by Battiato during those years always included Giusto Pio among the essential lineup of musicians.

Pio's compositional style relies mostly on his violin, and embodies an ideal trait-d'union between Baroque music and Post-modern Minimalism. Elegance, repetition, and regularity are the key aspects of most of the tracks, where schematic violin themes fluctuate over straight beats.  The main composition of the album takes its cue from the bloodshed following the 1989 Tiananmen Square protest, the piece beginning with shouts of protesting crowds, which are then drowned out and replaced by a series of musical motifs meant to evoke emotions and thoughts of those who witnessed the massacre. He also takes up the theme of Ananta from Pio's first album, Motore immobile.