The music on this release is very literally derived from the instrumentation called out as its title, though neither the guitar or the cymbals are used close to a traditional manner. Without viewing a demonstration, it's difficult to imagine how Courtis was able to gain myriads of sounds from an unstringed guitar, cymbals and an amplifier.

Three tracks, ranging from twelve to sixteen-plus minutes in length, are arranged almost symphonically for maximum effect, and Courtis is a master at pacing. Each one of these tracks sucks you in from beginning to end. As may be expected, there are elements of drone, derived from feedback and (perhaps) bowed cymbals. This acts as a canvas, while noisier, variegated sounds are applied in layers. These build-ups work up to a dense and absorbing din. The first couple of tracks amp up to what sounds kind of like a radial saw, yet it's an oddly musical one. It's not so harsh as it sounds. It's perplexing to guess how Courtis made the sound, though one might guess it was accomplished with cymbals.

The last track is even better than the first two. It gets a bit noisy as well for much of its duration, but it comes across as a cloudy, shape-shifting drone. The metallic permutations, again, perhaps sourced from cymbals, are ever changing. Listening to it repeatedly yields different results, based on where you focus your attention. The unstringed guitar is impressive because it creates an impressive array of fresh sounds. Courtis has taken an entirely different approach to a traditional instrument, and seemingly mastered its application in one fell swoop. It makes for a refreshing direction in experimental music, which is playful, entertaining, and expertly crafted.