These highly original arrangements of JS Bach for classical guitar prove the endless possibilities contained within the master’s pen. Bachanalia emerges from virtuosic classical guitar playing, stereo electronic processing, and the recording spaces themselves. It uses the special acoustics of St. Cecilia’s Church in Brooklyn and Future-Past Studios, housed in a historic Lutheran church. Described by The New Yorker as one of the “prime movers of the local avant-garde,” Higgins is a New York-based composer/performer of experimental music. He has scored music for TV, museum exhibitions, and films both short-form and feature-length. For Bachanalia, Higgins and co-engineer Ben Greenberg worked with a collection of vintage microphones to capture a spatialized natural room reverb. This provided a palate to warp, manipulate, and re-process the sound in counterpoint to Bach’s compositions, weaving together live performance and studio composition. Tracks 2, 3 and 8 are particularly enjoyable Bach melodies and Higgins/Greenberg treatments. Track 4 is a slowed rendition, overlaid with a moderately heavy buzz; Track 6 includes an overlaid quiet background buzz, while a mild buzz resonates in Tract 7. Both the experimentation and emotional intensity are high in the final three tracks.