The Spartan white sleeve with its fascinating numerical artwork is the perfect container for an essential album. Both creations are courtesy of Alfredo Costa Monteiro, a bright mind signified by ever-interesting gasps and sputters whose talent goes beyond painting and playing (he also creates conundrums and puns, and I wouldn’t be surprised if he could cook better than many renowned chefs). Here the Portugueseguerrilleroof intelligent noise is armed for the occasion with a mere accordion, and he does well to underline that “all the sounds are acoustic” on the album cover. Most of us know what the guy is capable of with a single machine (years of aural attacks, alone or with sympathetic allied forces of Ferran Fages and Ruth Barberàn, have trained us well), but those arriving in ACM’s universe for the first time might be surprised to learn that these irksome wheezes, raucous clusters, phobic flies buzzing round a tree hung with cymbals in a field of bitter drones come from the same apparatus that rendered the names Oliveros and Klucevsek famous. Ample proof of the experimental ingenuity that lies behind the freshest discoveries in the realm of improvised investigation of a specific sound source.