Collaged, layered, and rebuilt selections from solo cassettes Fast Moving Shadows (1983), Fragment (1984), and Sad Poetry of Departure (1985). In these two brand new mixes with a combined length of 43 minutes, Crane sticks to the more droney and repetitive parts of his original recordings rather than the song-oriented material. You won't hear electronic gargle this determined outside of a modular egg dream, no sir. This is a robust cruise through a downpour of crud-blurred shards and pulsating piles of free-rock membranes scraped off the eyeballs of zombies. All of it was originally tracked via a pair of home stereo cassette recorders, years before Crane had access to a multitrack. Using a 9v battery-powered Radio Shack mixer, he played one deck while adding another layer of instrumentation and recording both on the second deck. “If I’d had the ability to edit, multitrack, and add more effects at the time,” he says, “I certainly would have presented my recordings in this manner back in the ’80s.” Instrumentation was Steve Valin’s fake P-Bass, his Hawaiian lap steel guitar, fake Gibson SG electric guitar, Mattel Synsonics Drums, Maestro Echoplex, Casio PT-10, Casio VL-1, Texas Instruments SN76477 Complex Sound Generator, Roland synth, Pearl AD-08 analog delay pedal, Jaymar toy piano, Boss DM-2 analog delay pedal, Dunlop Cry Baby wah pedal, PAiA EK-5 analog delay kit, homemade triple oscillator box, homemade mono keyboard oscillator box, guts from a toy piano, homemade passive mixer, 8-track cartridge recorder (for distortion), two Radio Shack Realistic 33-1080 Electret Microphones, and samples from The Soul of Mbira LP, 1973. Cover art by Karen Constance