The name TIM CATLIN may not be terribly well known amongst the avant-guitarist circles; but his recorded output clearly stands amongst the best that Glenn Branca, Keith Rowe, and Jim O'Rourke have mustered from their six strings hard wired into the histories of electroacoustics, minimalism, and post-punk experimentation. Based out of Melbourne, Catlin is a guitarist who incessantly tinkers with the mechanics of his instrument, envisioning it as alternately as a mimetic sculptural object and a pure sound generator. Through his experiments with alternative tunings, atypical string gauges, and Rube Goldberg contraptions of interconnected motors, speakers, and radios, he seeks out the rasping textures of strings vibrating against each other, the acoustic phase patterns of two microtonally tuned strings, and the electrical purity of circuits feeding back upon themselves, essentially creating a polyglot drone symphony cast in smoldering monochrome.