Wind and water provide the background for Lotis’ dreams. Most of the music operates in the treble range and uses precisely positioned pitched sounds, rarely with noise or distortion. Beneath the gauzy surface lies a complexity not immediately apparent. Arioso Dolente / Beethoven Op. 110 eventually reveals a piano; however, the piece’s subject is Beethoven’s disposition. The sinister edge of Sibylla’s Voice occurs by way of processed violin sounds simulating the sibyls’ grim pronouncements. The recent 2002 South Wind will Bring the Sand and Underwater Theories suggest that Lotis now prefers concealing complexities under smoothly changing surfaces. Without notes or title I wouldn’t have guessed that the two-part La mer is about the sea. Lotis manipulates bee sounds to simulate water in La mer’s first movement.