If some malicious funny chap hided the title of this release or blindfolded me in order to play a sort of guess-who game after listening some splits, I would have bet on the fact I was listening to some pseudy stuff from a Negativland fan. Have a listen to the opening "Fontana Mix (With Aria)", the humorous reconstruction/recombination of the graphic score that John Cage named after Miss Fontana, his Italian landlady when he was recording the tapes with technical assistence from Mario Zucchen at the Studio di Fonologia in Milan in 1959, and "Aria", the piece that Cage dedicated to American soprano Catherine Anahid Berberian, sounds like a random operatic work coming from the problematic tuning of a satellite receiver with clips of Russian and American ads and movies, barking dogs, coughing, sneezes and so on and you'll understand the reason of such a. In spite of the fact they used tracks from Cage's original tapes and befitting recording technology such as open-reel tape machines, Langham Research Centre, the amazing group by radio producers Felix Carey, Iain Chambers and Philip Tagney with composer Robert Warby, which reprises the forgotten traditional codes of classical electronic music by using vintage analogue devices and old-fashioned machinery that BBC dumped away, manages to make it look like something different from a nostalgic workout. A certain sense of subversive humour sounds clear over the following listening experiences: "Imaginary Landscape no.5", a mash-up for tape from fragment of 42 records, whose structures came from the notorious Chinese text and divinatory system I Ching, where there are seemingly no traces of jazz tracks as the notorious version by Ms Eldman by highlighting the meaning of Cage's experiment, i.e. the fact that there's no music and even no sound which could be considered motionally neutral; the original interpretation of the epigrammatic compositional instructions for "4'33'³ No. 2, 0'00", the one sentence score "'In a situation provided with maximum amplification (no feedback), perform a disciplined action'; the interferences and radio disturbances on "WBAI"; the wise choice of the small objects to be amplified, according Cage's instructions, for "Cartridge Music", as well as the almost otherworldly assembly for "Variations I".