Dufort’s chartered tour is more like a night drive through the bad part of town. Several pieces convert mechanical and ambient sounds into noise, as in Grain de sable ’s opening and the flashes that whip through Gen_3. Enfant d’obus (“Bomb child”) conjures destruction with shattering glass and spluttering fire. Grain de sable marks the aftermath of the December 2004 tsunami that hit Thailand, with drowning as one of its themes. Dufort’s bewildering development of ideas occurs without apparent cohesion, as in the Matério_ trilogy, the parts of which appear to contemplate consistent sources — something squeaking, something dipped in water, something crunching, mechanical noises, etc. Dufort isn’t consistently apocalyptic, witness Gen_3 ’s humorous borrowings from, among others, Francis Dhomont, Pierre Henry and that venerably ancient, Billy Machaut. Hi_Res feels like a video game.