Hat Melter - Unknown Album (Crouton, 2003)

1 Untitled 15:45
2 Untitled 17:10

Crouton weeps with joy over this new release featuring Steve Hess, percussion; Jeff Klatt, cello; Jon Mueller, percussion; and Matt Turner, cello. Together they form ‘Hat Melter’, and quite literally too, as their names suggest. Although beyond the coincidence of the selective letters of their names, this group also combines elements of each others’ instruments to create a record of rich, vibrant sound - loaded with the texture of strings, and the melody of percussion. Strange, yes, and so is the record. The initial recordings were captured in a live setting. The cello work of Matt Turner, who is regarded as one of the world’s leading improvising cellists (as featured on Meniscus, Stellar, O.O. Discs, Asian Improv, Rastascan, Geode, and Cadence), is top notch, and is complemented wholeheartedly by vibrant cellist and recent composition graduate Jeff Klatt. Steve Hess and Jon Mueller, known Chicago and Milwaukee area percussionists, play harmonies with their cymbals, and grind Styrofoam through box fans. The results of this live session were then taken back to C. Rosenau’s studio, segmented, and analog constructed into new developments - segments as heard from the ‘ear’ of one room mic, strings picked up by snare drum mics - a reassignment of the flow of vibrations, and the feeling of ‘moments’ being pulled out of a magic hat. The end result is a record of switched sound characteristics, mixed emotions, and combined names that reveals a mysterious, often dark labyrinth of unknown sound. Two side long tracks, each with no name - unknown first by the players, and finally the listener...
Crouton

A platter of black vinyl packaged in an unmarked black cardboard jacket, with only a strip of paper disclosing some information: this is Hat Melter's Unknown Album. The group consists of four American improvisers: two cellists (Matt Turner and Jeff Klatt) and two percussionists (Jon Mueller and Steve Hess). At the heart of this album is a free improvisation, but what we hear through these two side-long pieces is a different story -- to be more precise, a different perspective. The pieces have been reshaped and re-sourced by Chris Rosenau (Telecognac, Collections of Colonies of Bees). Instruments are heard from other musicians' microphones, events have been resequenced, the whole listening experience is reconstructed following another person's point of view. It results in a fascinating but highly dizzying album. For example, at one point on side two, the quartet is split into two cello/drums duets, each isolated in its stereo channel and "heard" from a distance. A cello moves front stage center and a few seconds later everyone gets tucked away in the right channel. The technique recalls René Lussier's CD Deboutonné, where the sound engineer had the possibility to mix the input of a dozen microphones placed in and outside the recording booth, but in that case the performance was left unaltered, only the sonic perspective changed. Here, we don't know where performance ends and studio construction begins. It makes for very dynamic music, despite the highly abstract nature of the original improvisation -- which should be included as a bonus track if this album ever gets released on CD.
François Couture, AllMusic Guide

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Lionel Marchetti - Red Dust (Crouton, 2005)

Livre Maudit (16:41)
Première Partie
1.01 Lionel Marchetti - Prélude (Étude Dite Du Maudit) 0:59
1.02 Lionel Marchetti - La Visite Des Morts (Étude Chantante) 5:36
1.03 Lionel Marchetti - Rotorelief 1 (L'Oreille Doit Descendre) 0:18
1.04 Lionel Marchetti - Pont De Cire (Esprit Des Vapeurs) 2:40
1.05 Lionel Marchetti - Rotorelief 2 0:19
1.06 Lionel Marchetti - Je Suis Vaporeux 0:25
1.07 Lionel Marchetti - Troisième Rotorelief 0:15
Deuxième Partie
1.08 Lionel Marchetti - Série Militaire 3:32
Troisième Partie
1.09 Lionel Marchetti - Final (Étude Idolâtre) 2:20
1.10 Lionel Marchetti - Porte De La Mort 0:13
Livre Magnétique (19:55)
Première Partie
2.01 Lionel Marchetti - 1000 Hz 0:01
2.02 Lionel Marchetti - Saturne 3:48
2.03 Lionel Marchetti - Visiones Nocturnae 9:49
2.04 Lionel Marchetti - Porte De La Mort 0:13
2.05 Lionel Marchetti - Décompte 0:45
2.06 Lionel Marchetti - Porte De La Mort 2 0:13
Deuxième Partie
2.07 Lionel Marchetti - Final (Chant Magnétique) 4:58
Livre d'Eos (21:48)
3.01 Lionel Marchetti & Yôko Higashi - Penombra 13:37
3.02 Lionel Marchetti & Yôko Higashi - Porte De La Mort 0:13
3.03 Lionel Marchetti & Yôko Higashi - L'Incendie 7:58

Years in the making, RED DUST is a three disc boxed set of new work from this master practitioner of musique concrete. Elaborate in its aural presentation, this study reveals Marchetti’s most focused and exciting work to date. Composed in part with Yôko Higashi, the material reveals sounds old and new, acting as a modern looking glass into a tapestry of ideas still grappled with today; human attraction, narcissism, and the function of the artist. The music flows story-like over the course of the three discs; a novel-esque concept/approach to a triptych visual presentation. The combination of ridiculously old recordings melting into obviously modern sounds makes this listening an experience to ponder on many levels. Dissect the layers and enjoy.

Each disc within RED DUST is accompanied by a note card with corresponding details, as well as a separate text card written by Olivier Capparos regarding the work of Lionel Marchetti. Housed inside a small matte red box, the entire package is then wrapped in a fine delicate mulberry paper. Limited to a pressing of only 300.

“Lionel Marchetti was born in France in 1967. His interest in music resides in the qualities of sound. He is one of a handful of artists who in the mid-to-late 1990s took electroacoustic music out of academic studios and into the free improvisation ring. A scholar who worked at the CFMI (Lyon) and GRM (Paris) studios and published a book on acousmatic composer Michel Chion, Marchetti developed a set-up of microphones and loudspeakers he uses on stage along with tape recorders, prepared CDs, motors and radios. He often refers to his “instruments” as an “electroacoustic contraption.” His live work with Jérôme Noetinger found echoes in the approach of Swiss and Austrian abstractionists like Voice Crack, Günter Müller, and Werner Dafeldecker, but Marchetti is mostly active in France, performing regularly at the club Les Instants Chavirés and at the festival Musique Action. His studio work encompasses sound collage ( ) and academic electroacoustics ( , ), although the level of poetry and refusal of genre boundaries in his music puts him closer to Kristoff K.Roll and Luc Ferrari than Pierre Henry or Bernard Parmegiani.” - based on the François Couture penned bio in All Music Guide.

Yôko Higashi: dancer, singer and composer initially began her work in Tokyo, and now resides in Lyon. Since 2002 she creates her own choreographies. She also works on vocal performances with several musiciens (CASANOVA FRANKEINSTEIN, Florent DICHAMPT, John HEGRE, MOKO, Lionel MARCHETTI…) and Nicolas TICOT of XLR Project (Video artist). In 2003, she created a trio of electric pop-rock groupe YOKOHAMA ZEN ROCKS (Compilation DOPE BEAT SUPADOPE RECORDS Factory Vol.1). She also currently is involved with her solo project HAMAYOKO (electropopexperimental).
Crouton

Not since I bought my first LP has a package seemed so stunning. The artwork may be small and the presentation austere, but it carries a personality all its own. This is the work of an individual whose personality shines through his music and his choice of medium. With him comes an entirely new world, a place reshaped in the name of sound and forged beneath the idea that sound is transformative, musical, and everywhere all of the time. Lionel Marchetti is a student of Pierre Schaeffer, a composer whose heart belongs entirely to the uneven pulse of musique concrète's open arms. Both music and musician are welcoming on this collection, enticing listeners to open up the box and travel somewhere for an hour or so, forgetting, in the process, whatever notions might influence the way Red Dust could be heard initially.

The collection is broken up into three 3" discs, each described as a separate movement in a "study" on musique concrète. Do not let the academic language be deceiving. Although Marchetti might be a student of the art, his music is a living mass of people, places, musicians, and ideas. This is not a work of art that belongs in the stuffy atmosphere of a museum or in the halls of an egocentric art gallery; Red Dust is alive, stirring up memories and reanimating old sources of inspiration in its movement. Each disc has an accompanying card included in the set. These cards list the track titles, the musicians responsible for each piece, and in some instances the names of musicians or artists from whom Marchetti has pulled samples or ideas. Included in the collection are the names Fritz Lang, Marcel Duchamp, Pierre Schaeffer, Henri Chopin, and some other, slightly more surprising names: This Heat, Keiji Haïno, The Residents, and PanSonic. It is obvious that Marchetti truly believes music is everywhere and in every time as his choice of sources reflects an expansive appreciation for music in many different forms. Each of the three discs are, in fact, quite distinct, but form a loose narrative in the same way that some cubist art approximates movement. There is room for the listener in this box, plenty of space for him or her to communicate with the sounds and inform where it will go next. The very act of listening changes the outcome of this collection, but every act of listening will also exact a trace of stunning beauty and perverse movement in the brain of the participant.

The first disc, entitled "Livre Maudit," is described as a three part performance in ten movements. Many of the pieces on this disc are less than half a minute long. Four of the tracks, in fact, occupy well over half of this disc. The mood is overwhelmingly dark, the industrial sounds used generating a repressive and dangerous atmosphere. With the inclusion of either hysterical or serene vocal parts, Marchetti creates a pool of ever- changing emotions. The use of romantic, nearly Caretaker-esque samples only strengthens the sense that Jack Nicholson is on the verge of bringing some of his dead friends back from the grave and putting them all in the most grotesque of ballroom dances. Instead of occupying a haunted hotel, however, they're all going to travel by way of electricity and warp every corner of the industrial world. Pierre Schaeffer's train stations and Keiji Haïno's guitars are equally in danger of being haunted and cursed by these apparitions. At the same time, Marchetti includes some exquisite vocals and gentle silences in his compositions. The sense that this disc is, in reality, cursed increases with each listen. Moving to the second disc will only reveal just how dense and manic the first is.

Both the second and third discs, "Livre Magnétique" and "Livre D'Eos," are given more room to stretch. Instead of occupying either of these "books" with a spattering of very short pieces, both contain a series of longer compositions that reflect more than attack. The inclusion of robotic voices over the duration of the remaining music instills a strong sense of narrative omnipresence. Both "Saturne" and "Visionses Nocturnae" on the second disc contain robotic conversations that include the composers name and, supposedly, his own explanation for the work he does. Not only does this put the music in an immediate proximity to the listener, but it bestows a sense of purpose, interrupting what might be considered a purely abstract collection and interjecting cause and effect or even history into the project. The robot asks questions like "Do you like my music?" and situates the recordings by addressing them as "modern." It's an almost comical moment considering much of what Marchetti does is rooted in a past that may seem more distant than it really is. All the while an exquisite drone passes by in the background with only the most subtle of thunderous rumblings interrupting it. Piano, static, radio signals, and marching bands all press together and by the end it feels as though Marchetti has opened the temple of his body and invited everyone inside for the remainder of the show. It's a stunning moment where the artist and the observer switch places, where the artist is forced to address the fact that he has an audience that he must listen to and understand as an artistic group. The artist can, after all, only compose to the extent that he is hindered by other, perhaps invisible factors. An audience is a perfect example of this kind of censorship and it seems to me that Marchetti is aware of that.

The final disc is my favorite; it is a sprawling work composed primarily of two compositions. The atmosphere is nocturnal, slow, and organic. "Penombra" features guitar and percussion as well as some seductive, near-operatic vocals, but is also satisfyingly abstract, floating hazily in the distance and slowly releasing the pressure that was built over the previous 40 minutes or so. It is amazingly beautiful and strikes me as the most musical piece in the collection. By the end of the disc, Marchetti has traveled from the dense, layered affairs that were characteristic of many of the earliest experimental recordings, to the open and free compositions that typify the work of many drone artists and other sound collage enthusiasts. "L'incendie" closes everything with the ringing bells of a church, the movement of ideas, information, fears, and problems passing below its incessant vibration. The piece seems to ring on forever, the inclusion of screams, radio interference, and other strange sounds only increasing the power of its hum. Marchetti affects this change subtly, allowing it to occur slowly, almost to the extent that it is unnoticeable. The melodic phrases that appear on the final disc seem to chart the end of abstract composition, but do not rob it of its grandeur and its ability to travel through time and reveal the music that is the world. On the other hand, perhaps these pieces reveal that everything is essentially musique concrète. All the music of the world has, in one way or another, been influenced by sounds that already existed. Composers simply structured them according to what they had available. Compositions are often written before they are expressed in sound, but perhaps sounds has always been there before the composition. There is no escaping the world as music.

There are very few boxed sets, much less records, that seem as well thought out as this one does. There are very few abstract recordings impressing me anymore, their weight and power seemingly fading away due to over saturation. Marchetti, however, has invigorated my belief in this medium and its ability to remind the listener that music is more than a product or a way to pass some time in an entertaining fashion. Music is ultimately an art and art ultimately informs, challenges, and provokes. There can be little doubt of that after listening to Red Dust. It strips the musical world of barcodes, FBI warnings, and greedy punks, and places music firmly in the realm of the listener's ears and mind. There are 300 copies of this collection available from Crouton and they are not asking a lot for it. This is highly recommended, as both a cerebral experience and a musical one.
Brainwashed

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Raymond Dijkstra - Maskenstilleben (Crouton, 2007)

1 Untitled
2 Untitled

We are very pleased to present this enchanting special edition LP from sculptor, painter, drawer and composer, Raymond Dijkstra. Since 2003, his recorded work has been released in very grandly designed (though extremely small editions) on the Le Souffleur label, all of which are out of print and not easy to obtain. Those who have, discovered the odd, yet personal world of Raymond Dijkstra, whose recorded output relies heavily on the acoustic side of electro-acoustic music.

In Dijkstra’s own words:

“My overall philosophy is to keep my kitchen closed. And the lid on the pot. I need to build up pressure; the only time I release pressure is when playing music. It’s all about transformation.

I guess I need to have some distance between me/my music and the public. In fact I like to see the public as non-existent. Releasing my work I only do for metaphysical reasons; to keep all psychic and physical channels open, and maintaining a healthy system. It is not much more then relieving yourself in the toilet. If not, there’ll soon or later come a point when your system gets clogged, the energy flow will cease, and the transformation into music stops…

I need complete isolation to protect my work.”

“Maskenstilleben” will be released in a limited numbered edition of 100 in a painted wooden box on 200 gm virgin vinyl.
Crouton

This is acoustic music in optima forma and one of a highly original kind. Composition? Not of great interest for Dijkstra. Structure? Nope. Being part of a scene? Which one, or in fact is there one? Not for Dijkstra. He claims to work best in strict isolation, building up the pressure and when he plays his music, he releases his pressure. Inside his closed system (both mentally and in the real world), he derives the sounds which he likes, plays them ad infinitum, without beginning or end. This is noise music, but stepped outside the relatively known genre of overload. This is improvisation, but not as we knew it. Total outsider music, as it’s hard to come across Dijkstra, who hardly plays concerts. Not part of the serious music world, the underground noise scene, microsound or the laptop flock, he persists very much in his world.”
Vital Weekly

“It’s hard to say to what extent Dijkstra has laboured over his sounds or where to place them in the finished work, because there’s a rawness to his work that aligns it more with today’s soft noise improv than with the more ahem refined esoteric electronica of the post-Nurse With Wound crowd, specifically Organum, with whom Dijkstra is, for some strange reason, often compared. Whatever bag you choose to put it in though, this is pretty tough stuff.
Paris Transatlantic

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Collections Of Colonies Of Bees - Rance (Crouton, 2000)

1 Untitled 2:05
2 Untitled 2:53
3 Untitled 1:05
4 Untitled 2:00
5 Untitled 4:19
6 Untitled 2:57
7 Untitled 3:18
8 Untitled 1:03
9 Untitled 5:47
10 Untitled 8:49
11 Untitled 1:18
12 Untitled 1:10
13 Untitled 1:10
14 Untitled 7:16
15 Untitled 4:15

Chris Rosenau’s second solo recording of composed and improvised music. A nearly full disc of various movements consisting of banjo, acoustic guitar, pedal steel guitar, glassware, and various electronics. Also features Jon Mueller on drums and voice. “Rance” offers a surprising and catchy mix of southern melodies and avant garde racket. There’s something for everyone here.
Crouton

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irr. app. (ext.) - Dust Pincher Appliances (Crouton, 1997 (2003 reissue))

1 A Body Rendered Disjecta Membra Through The Application Of Dust Pincher Appliances 7:28
2 Antiantedelirationatal Music Box 3:02
3 A Distended Particular 4:19
4 Subsequent To Dust Pincher Appliances: A) Breath Listing Towards Eternity; B) Bones Rattling Around Oblivion 11:11
5 Desist In Ceasing To Cease To Exist 12:39
6 Wracking The Carcass For Residue 5:03
7 Narcoinvitatorintraphasieschatological Music Box 6:11

Crouton is ridiculously excited to announce this CD release from irr. app. (ext.). Dust Pincher Appliances was originally released in 1998 in a shorter, alternate form, via a now impossible to find 10” vinyl on Something Weird Records, Iceland. This CD edition on Crouton reveals different versions of the original recordings, as well as three tracks not present on the 10” edition. Some might say that anything graphic artist, sound artist, and writer Matt Waldron produces is peculiar, and his work as irr. app. (ext.) is no exception. Each minute of these startlingly Dadaist compositions reveals unexpected surprises. The instrumentation, who knows? A bit of everything really, except the standard ones. However, the style is not a mess, but rather an obsessively scrutinized audio story, aural painting, or sound experience, which is quite devastating to take in.

Waldron began this recording project in 1991, and has eight records under this name (although most were not publicly released). Some will recognize his name as the one co-responsible for the recent Nurse With Wound CD, “Chance Meeting of a Defective Tape Machine and Migrane” on the United Dairies label. He has also worked with the likes of Stillupsteypa and Coil, and has created scores for numerous Butoh performances in California. His graphic art, which is similarly as intriguing as his sound work, has also found its way into NWW territory, particularly on the cover of their CDs “Automating Volume 1 and 2.” Elsewhere, his visual work has been exhibited in various galleries throughout California, as well as in the pages of Bananafish Magazine. Furthermore, Waldron also was co-founder of the Oneiromantic Ambiguity Collective, a writing & performance group active since 1998. Each of Waldron’s talents in graphics, sound, and writing, can be witnessed in this fine release.
Crouton

In 1690, John Locke said: "Time is to duration as place is to expansion, and whoever pursues his own thoughts, will find them sometimes launch out beyond the extent of body, into the infinity of space or expansion; the idea whereof is distinct and separate from body and all other things." irr.app.(ext.) says: "Herein, which is the structurelessness of insignificance, possibility is given a reign of manifestation no longer limited by the constraints of possibility, the which can be considered the body."

What is the way to achieve this structurelessness? This expansion of possibility transcending the body? Why, by subverting your structure into disjecta membra (scattered remains) by the application of Dust Pincher Appliances. The album is the answer to this derationalized notion. The album is a means of achieving voluntary bodily dissolution: the cremation of thought. A series of anti-logical Dada lessons in how to descend the staircase nude without distending your particulars, Dust Pincher Appliances coagulates the diaphanous sounds that emanate, narcotized, from the "antiantedelirationatal music box". Against and before the delirium that logically develops from birth. Cover artwork: Jim Woodring meets Mark Ryden meets Antonin Artaud. A morbidly humorous performance of psychic surgery, the prelude to the Dance of the Tutuguri. Case in point: track four, part b) "bones rattling around oblivion." A shake of the shaman's medicine stick, a juju-needle in your eye, the blood-ooze of the dog star message worming its way around your cerebral cortex. Primal and clinical. Passionate and detached. Track one is vacuumed particles - the Mad Wall-drones that, sucked from your carpet, inhabit your body. Plucked strings inherit your fears, swirling around in a cloud of eraser dust and pencil shavings. Muted and mutable, they are the particulated sounds of dread and debacle being sucked out of the atmosphere and into your vibrating center, so you can no longer hide from irrational devices that whirl and intoxicate.

We are dealing with Irrational Applications of Extreme science. The sound is a bag of sterilized filth, an opportunity for the average human being to display his affection for detritus of the lowest order; a chance communion with all of the scattered effluvia, excretia and aspirated vomit sloughed off in a lifetime of sin. Will you turn away again in disgust, reaching for the toilet plunger, enforcing your corporeal irrelevance? Or will you instead face your foul legacy, and learn to be its equal? Track five: "desist in ceasing to exist," a double negative polarized to repolarize the polar icecaps that strain, crack and break at the influx of echoing underground chambers full of HAARP mindscrapes and digital flushes of modulated brain crimes. A distinctly emotive piece full of hurt and headache. Finally, the culling comes in the form of "wracking the carcass for residue," an industrial throb of obsolescence that entrances as it perplexes. Industrial = IN DUST, a TRIAL = i.e., a baptism achieved through grime. The readymade music boxes of track seven have all the telltale heart of a tale told in part only, and as I slide into this cold wormhole occupied by the hyperstring-membrane, the secret exit tunnel out of a vast abandoned atomsmasher, I know that I must return. I think I lost my contact in there, and out here, I've lost all contact.
Brainwashed

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Daniel Menche - Creatures Of Cadence (Crouton / Longbox Recordings, 2006)

1 Untitled (14:50)
2 Untitled (8:48)
3 Untitled (19:59)
4 Untitled (21:06)

Enregistré l'été 2006, ce 'Creatures of cadence' ouvre de nouvelles directions dans le travail de Daniel Menche. Loin des performances ultraphysiques suramplifiées, ou des accumulations de feedbacks, il travaille ici avec des instruments acoustiques (violoncelle, cors, cithare, percussion, voix) passés à la moulinette électroacoustique pour fabriquer des trames, des séquences répétitives qui viennent s'entremêler et s'accumuler, dans un univers fantasmatique très joliment illustré par la pochette.
Metamkine

Despite what the title might suggest, “Creatures of Cadence” is not about endings, completion, or finality. Instead we find Menche inviting a slew of new mediators into his cathartic miasma. The medium now extends beyond the rich and unfathomable depths of somatic sound. His ongoing dialogue between body and mind has found sympathetic resonators in a myriad of instruments (percussion, cello, horns, and zither) that have proven through the ages of being capable of channeling both our most ecstatic joy and profoundest grief.

“Creatures of Cadence” finds Menche in full exploratory mode; excavating well-concealed networks of sonorous information through a systematic deconstruction of drone and pulse. In the process, he further erases any perceived division between hearing / feeling and performer / instrument. The result, if consumed at the appropriate amplitude, is nothing less than a sixty minute journey through a voluptuous and pristine mania.

“Creatures of Cadence” is a work commissioned by Crouton and Longbox Recordings and published in conjunction with Menche’s first Midwest U.S. concerts: in Chicago and Milwaukee, September 29 and 30, 2006. Released in an edition of 500, including three full color inserts and overwrap with images of detailed bird drawings peppered with a whisper of the disturbing by Eric Stotik. It is our sincere hope the listener will find the packaging for this release a fitting visual analogue to the vehement beauty of the aural.
Crouton

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RM74 & RLW - Pirouetten (Crouton, 2006)

1 Hanswurst, Lethargisch, Aber Guter Dinge (8:34)
2 Abwege (7:31)
3 Kontrollpunkt Am Herzen Der Volksseele (7:50)
4 Sturmangriff Zur Austreibung Der Wintergeister Und Anderer Geistlicher (3:37)
5 Folklore Off (6:03)
6 Sack Im Fegefeuer (2:55)
7 Herz Schlägt Noch (5:51)
8 Maestro Zungenpflug (5:43)

PIROUETTEN was started in September 2003, when Reto Mäder a.k.a. RM74 wanted to visit Ralf Wehowsky a.k.a. RLW in his solid green middle-class garden. On his way to RLW’s single-family-house, RM74 became a victim of the german control paranoia, as embodied by a sturdy female Karlsruhe tram-warden. Influenced by the folkloristic stubbornness of present-day control authorities, a sustained penance resulted in mutual musical pieces.

Early results of the RM74/RLW collaboration can be found on the “Epitaph For John” CD (”Seeking Perfection - Somewhere Else” on Korm Plastics KP3016), the Wire’s website (”Zungenschlitz & Spontane Deflagration” www.thewire.co.uk) and on the “Fireproof In 8 Parts” CD by RM74 (”Scharlach In Saldo” on Hinterzimmer hint02). PIROUETTEN exploits the authors’ long-lasting dedication to the unpure tradition of centurial folkways. The 8 pieces were developed by juxtaposing crude instrumental raw materials under strict electro-acoustic control. They are songs of songs about loyalty to the grey area between music and noise, Lacan and Freud, stubbornness and penance, grey burgundy and Rolf Benz. Recorded March 2004 - May 2006 in Bern/Switzerland and Eggenstein/Germany.

RM74: organ, accordeon, piano, cello, (bass-) guitar, harmonica, transformations, composition.
RLW: gamelan, sitar, paper, guitar, trombone, chimes, recordings of populated fields, transformations, composition.

Crouton

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