CD, on Jim O'Rourke's Moikai label. Two versions of the same composition, Guitar Too, For Four, thirty minutes each and an hour in total. The first is credited to Rafael Toral, the second is the massed version.

Phill Niblock worked the same way for over fifty years, and the method is easy to describe and hard to believe until you hear it. He recorded single sustained tones played by one specific musician, then cut out the breathing, the attack and the decay, so that what remained was pure held pitch with no beginning and no end. Those tones were then layered, tuned a fraction apart from one another, until the intervals between them began to beat. Early on this meant tape, four or eight or sixteen tracks. From the late 1990s he used Pro Tools and went up to forty. Nothing in the sound is electronic in origin, and nothing is processed.

He had no formal musical training at all. He started composing in 1968, at thirty-five, and never worked systematically.

This record began with recordings made by Niblock and Robert Poss. Those were handed to Toral, who built a version out of them the way a dub engineer works over a rhythm track. The second version was assembled in New York with Alan Licht, Kevin Drumm, Lee Ranaldo and Thurston Moore, all of whom had played the piece live and brought that into the studio with them. O'Rourke oversaw the whole thing with Niblock.

Guitar is an awkward instrument for this music, which is part of what makes the record worth hearing. A guitar note decays and Niblock's music does not, so the players have to keep feeding it, and the result is dirtier and more restless than his wind and string pieces.

Niblock directed the Experimental Intermedia Foundation from 1985 until his death, and between 1973 and 1991 filmed The Movement of People Working, long static takes of manual labour in China, Brazil, Mexico and Peru. He died in New York on 8 January 2024, at ninety.