A double CD featuring compositions dating between 2004 and 2009, Four Malleable is an excellent introduction to Richard Garet’s strategies. One of the most noticeable traits of this artist’s vision is the constant transition between different states, as, with a degree of analytical coldness, he designs platforms for sonic events to develop gradually yet unpredictably, giving the listener a chance to connect with a particular environment before becoming an active psychoacoustic participant in its progressive alteration. Several of these soundscapes tend towards instability only partially camouflaged by Garet’s accurate placement of detail. 2005’s “From Modified Tapes” explores settings that range from the accumulation of murmured pressure and reverberant vibration (substantial to the point of near-opacity) to the ever-puzzling seduction of remote metropolitan echoes. The processing filter lets emerge just a few identifiable factors – heavily equalized voices, in this case – from an unbearably dense fog hiding whatever meaning might lie behind. The composer declares to have been focussing on “materiality, malleability, process, and on the aural digital permutations resulted from computer synthesis”. Yet the sharp nuances of certain frequencies, fused with the absence of physical weight typifying some of these pieces, dispel any doubt relative to concreteness, for in Garet’s conception tactile matter seems to be a mere instrument for attempting an improved classification of our fundamental nature.