A student of Jonty Harrison, the British electroacoustic composer Adrian Moore inherited his mentor’s sense of movement, while pushing further his sound poetry. Traces collects five works created between 1994 and 1997. Junky and Dreamarena could be described as “ambient electroacoustics.” Sound sources have been stripped from their context and sculpted into tonal and rhythmical structures. The first piece could almost be mistaken for an ambient synthesizer piece, while the second one shovels sounds back and forth between the listener’s ears, creating dreamy ever-changing soundscapes. Study in Ink and Foil-Counterfoil are both built on one main sound source. The first one uses a marker pen on a whiteboard. Both funny and puzzling, it has an interesting “squeaky” quality. The second, based on recordings of tin foil, is more conventional and mechanical. The closing piece, Sieve, is described by the composer as a “radiogenic work”: natural (as in “real world”) sounds are heard accompanied by their electronic manipulations. The large number of sound sources used and the constant analysis the listener must do to relate them to their manipulated counterparts make for a busy, rich, exhausting work. This one is very impressive, resists to multiple listens, and serves as a perfect closer, leaving an impression of fulfilling creativity which radiates on the whole album. If one puts Foil-Counterfoil aside, Traces becomes one very strong musique concrète CD. Recommended.