A sprawling, long-in-the-making work of experimental modern classical music from the LA-based composer who also runs the fabulous Recital label. The companion to 2013’s Music for Private Ensemble, on which McCann played nearly every instrument himself, this record features nearly three dozen performers, including Ian William Craig, Sarah Davachi, Maxwell August Croy (En), Kayla Cohen (Itasca), Matthew Sage, Andrew Chalk, and Celia Hollander ($3.33). The result is a perplexing, fun, lovely collage of sound poetry, drone, free improvisation, weirdo choral music, and many other surprises. No FCCs detected. Favorites: 1, 3, 7, 11, 13, 15.

1. *(3:43)—Classical drone. Soft, multitracked piano. Slow, peaceful. RIYL Bing & Ruth.
2. (4:00)—Squeaking free-jazz flute. Multiple people reading a poem. Water noises. Harpsichord. Bizarro muzak-esque cut-up.
3. *(6:26)—Hyperactive orchestral jazz interlude. Real and synth strings, trumpet and sax soloing, dinner table sounds.
4. (2:41)—Warm, wordless, slightly unsettled choral piece. Conducted with a visual score using various shades of the color blue.
5. (3:22)—Slow, calm piano. Several people speaking different words simultaneously. Cuts out suddenly at -0:10.
6. (12:50)—Slow violin and bass clarinet, disorienting polyphonic speech and unnerving sound effects. Dissonant, ghostly high-pitched singing. Finale features martial percussion.
7. *(4:34)—Dreamy, slightly discordant. Whispering, piano, pedal steel.
8. (3:13)—Choral, wordless, floaty, comforting.
9. (6:03)—Glitchy electronics, multitracked violin, koto, spoken vocals hopping across the stereo spectrum.
10. (4:52)—Water sounds, violins. Bass drones that turn into dog-whistle noises.
11. *(5:29)—Really weird instrumental cover of the Hoagy Carmichael standard. Comes out sounding like disintegrating orchestral jazz.
12. (4:33)—Seesawing, squawking strings in 3/4 time.
13. *(4:24)—Slow, intense, slightly off-kilter choral piece with another visual score.
14. (3:38)—Tape noise, lots of voices flitting in and out. Organ. Choral music in the far background.
15. *(6:53)—Grand, beautiful. Keyboard intro, swelling strings, floating vocals. Some heavenly singing from Ian William Craig.
16. (6:15)—Minimal. Piano, soft speech, the sound of a lamp being bowed with a pen or pencil.