First, the instruments - for some of you these will already be enough - which include rarities from the early history of analogue electronics: the Optigan, the Ondioline, the Solovox, the Clavioline, the Ondiola and the Mellotron; some antiques from the early digital era: monophonic, polyphonic and modular synths, a Vocoder - as well as acoustic exotica: harpsichord, celesta, a prepared piano, harmonium, vibraphone, glass harmonica, pipe organ and, occasionally, human voices. The musical vocabulary is wide, covering the range of library music, with echoes of musique concrète and particular homage paid to exotica and movie soundtracks. Indeed, many of the individual pieces here (there are 150 of them) were originally written for film or sketched for imaginary films - or were just made to explore a musical or sonic idea. On that level It would be an intriguing sketchbook - like some of the great Raymond Scott's Manhattan Research compilations, documenting experiments and applications of unusual and unearthly sounds. What takes it beyond is what Simonini has done to select and sequence these fragments into three (roughly hour-long) listening blocks, each greater than the sum of its parts - to keep your ear on its toes. In a box with a booklet and a commemorative badge.