And with a wry riff off the title, maybe, of Andy Williams’s “Music To Watch Girls By”, Music for checking e-mails is what exactly? Sprawling over two CDs, Wolfgang Mitterer subverts the reason CDs usually exist: the mechanics of recording, now crosswired into Mitterer’s compositional strategies, becomes the fabric of his music. Four extended sections, with suggestive titles – “hallo mr bruckner”, “pjotr ilijitsch”, “to morton” and “bad receiver” – occupy the first CD, while the second disc knits together pairs of miniatures labelled, alternately, “background” and “back_klav”. And the four larger tracks collage slabs of Bruckner, Tchaikovsky and prepared piano music against the piledriver beats and rhythmic clicks characteristic of techno and dance music. Electronic soundscapes interspersed with piano interludes make for a sketchier second disc.

And why? With points of departure ranging from Ornette Coleman to a killer quote from philosopher Arthur Schopenhauer’s World as Will and Representation – “Every man takes the limits of his own field of vision for the limits of the world” – booklet annotator Paul D Miller’s (aka DJ Spooky) argument is that Mitterer dreams about music for which no pre-existing instrumental set-up or electronic rig exists. He must phish for sounds inside the information-superhighway of his imagination.

And the result? For all the conceptual intrigue, I’m not convinced Mitterer pulls this project off. The relentless call-and-response of the “background” and “back_klav” sections suffer the law of diminishing returns. Undoubtedly better is the first disc; Mitterer’s knack of dissolving what ought to be incompatible sources into a whole is pleasingly counterintuitive – although Pierre Henry’s Comme une symphonie, which similarly makes musique concrète from Bruckner, is more savvy, streamlined and expressive: the Mac to Metterer’s PC.