This is a retrospective collecting much of tanner menard's ambient, drone, and noise work from the late 2000s. menard (based in Arizona, member of the Atakapa-Ishak Nation) is now mostly focused on writing and teaching, but when they were making these recordings they were particularly interested in composing on virtually modeled pianos that had custom tunings. The pieces from this period are attentive to uneasy beauty and often share a kind of warm, soft, melancholy mist. Disc 1 is longform and noisy, and disc 2 is dedicated to compositions for virtual piano. RIYL Fennesz, Celer, La Monte Young and Marian Zazeela, Sarah Davachi, Brian Grainger, David Tagg. Favorites: 1-1, 2-1, 2-3, 2-6. No words, no FCCs.

DISC 1
1. *(23:42)—Unified survey of the sounds menard covers in this collection, from modeled piano to walls of shoegaze noise. Gradual build and denouement.
2. (47:40)—Epic, by far the most abrasive of the bunch. Noisy from the get-go, like boulders combusting in a thunderstorm. Good for soliciting callers asking if the transmitter is broken.

DISC 2
1. *(7:34)—Underwater feel, gentle, with tones rising slowly to the surface.
2. (13:43)—Deeper, murkier, droning in the lower ranges.
3. *(12:02)—Soft, high ringing. Shadowy mid-range drone, soft industrial hum. Beautifully spooky.
4. (6:13)—Dense field recordings with rain sounds, dulcet piano.
5. (8:55)—Glowing, full of twilight sounds.
6. *(14:00)—Field recordings to start. Soft, distant tones. Peaceful, though busier in the second half.
7. (7:01)—Muffled piano keys under a sheet of luminous drone.
8. (8:48)—Vibrating chords and melody fragments.