Alex Ferris describes about bells, gongs and cymbals that they produce a multitude of tones simultaneously. They inhabit a musical dimension between that of instruments and specifically tuned sounds with so many tones or so little pitch stability that none can be effectively distinguished.

Most of our Euro-American tonal concepts (those behind strings, winds and bars) are based almost exclusively on length (with the other two dimensions as modifiers). This is efficient and simple and produces the most easily identifiable (less complex) pitch fields.

Circular and curved objects struck in different places with different degrees of force tend to produce a variety of frequencies. This tends to remove us, when we use them musically, from the linear ideas that drive Western ideas of tonality: the inharmonically rich sound universes generated by multi-linear instruments are infinitely more complex. If Western pitch generation can be thought of as essentially one-dimensional, instruments based on circles and curves are three-dimensional. In mathematical terms, the analogy would be the difference between arithmetic and topology. In terms of conventional Western theory, they are puzzling, and generations of Western theorists have dismissed them as "noise".

I have heard and read about gamelan music (whose theoretical sense of music is much less linear than that of the West) for many years, but I am far from considering myself remotely knowledgeable about it. My approach to building and playing instruments "circulars" comes from a desire to explore and understand the 3-D tonal universe.

Methodology for recording Anarchestra in their sound registers.

Other than rudimentary mixing functions such as gain, level, panning and equalization, no processing of any kind has been used. Unless specifically noted, no editing (other than starts and stops) has been imposed on the live recordings (all of which were recorded directly to two tracks).