3 pieces: Anima Pepsi, recorded in the legendary Pepsi Pavilion at the 1970 Expo, is derived from heavily processed animal and insect sounds, Toneburst (1975), written for Merce Cunninham, uses only electronic instabilities and internal feedback, with no external source sounds, Dialects (1985) is built around insect wings and alpha rhythms, again in a salad of cross-wiring. Like so much of Tudor, there is a fascination with the system and the process, to the extent that what comes out is rather arbitrary. These pieces are chaotic and not unlike, though preceding by decades, some laptop music. The sounds are generally more interesting though, because dirter. For those who like Tudor.